Podcasts about Canto

Pressing to his bosom the jewel for the head sent by Sita and piteously wailing in many ways, Sri Rama urges Hanuman to repeat the message of Sita.Recitation: 00:00 - 02:47Translation: 02:51 - 07:06

Returning to Madhuvana as commanded by Sugriva, and craving the forgiveness of Angada, Dadhimukha submits to the latter that he is urgently summoned by Sugriva. Set out in the company of Hanuman and others, and approaching Sugriva, Prince Angada apprises Sri Rama, after saluting him, of the discovery of Sita and other events.Recitation: 00:00 - 07:27Translation: 07:31 - 17:21

Hanuman tells Sri Rama, how Sita expressed her doubt in the first instance about a monkey being able to leap across a vast sea and how her doubt was resolved by him.Recitation: 00:00 - 05:10Translation: 05:13 - 12:00*** END OF SUNDARAKANDA ***

Hanuman reproduces at length the incident connected with a crow that took place during the sojourn of Sita with Sri Rama at Chitrakoota, related by her by way of a token, and further describes her piteous lament and the way in which she was comforted by Hanuman.Recitation: 00:00 - 07:24Translation: 07:27 - 17:43

Asked by Sri Rama to tell him the news about Sita, Hanuman apprises Sri Rama of her presence at the foot of a Shimshapa tree in the midst of ogresses and delivers her message after narrating the incidents related by her as a token.Recitation: 00:00 - 04:52Translation: 04:56 - 11:38

Our pilgrim, Virgil, and Statius arrive on the otherwise empty sixth terrace of Mount Purgatory. Virgil seems more hesitant. And our pilgrim, Dante, more passive, as he listens to the two older, wiser poets discuss the craft of poetry.This passage represents the paradox of circularity and linearity, of stasis and advancement, that is the major structural (and thematic!) tension in COMEDY.Join me, Mark Scarbrough, as we work through a seemingy easy passage while the pilgrim learns the craft of poetry.Here are the segments for this episode of WALKING WITH DANTE:[02:01] My English translation of the passage: PURGATORIO, Canto XXII, lines 115 - 129. If you'd like to read along or continue the conversation with me, find this episode on my website and drop down the page to see the translation and a place to start a conversation with a comment: markscarbrough.com.[03:23] Circularity and linearity: the crux paradox of COMEDY.[08:37] Marking the temporal as a reality claim in COMEDY.[13:25] A possible change in Virgil's characterization.[16:25] Learning the craft of poetry (to engage the play of quotation and interpretation).[21:12] Rereading the passage: PURGATORIO, Canto XXII, lines 115 - 129.

Having heard from the mouth of Dadhimukha the story of Madhivana having been laid waste by the monkeys, Sugriva concludes from the jubilation of the monkeys that Sita has been traced out. Comforting Dadhimukha, he asks him to send Angada and others without delay.Recitation: 00:00 - 05:50Translation: 05:53 - 13:40

Having entered Madhuvana and partaken of honey, as permitted by Hanuman, and singing and dancing like drunken people, the monkeys were forbidden by those guarding the grove and they belaboured the latter. Repulsed by them, the guards reported the matter to their leader, Dadhimukha, who appeared on the scene with his entourage and on remonstrating with the monkeys was thrashed by Angada, who dashed him to the ground. The guards headed by Dadhimukha then move en masse to Kishkindha to report the matter to Sugriva and bow down at the latter's feet.Recitation: 00:00 - 06:25Translation: 06:30 - 15:00

Set out from the Mahendra mountain in the direction of Kishkindha, the monkeys halt at Madhuvana, a grove guarded by the monkey Dadhimukha and most beloved of Sugriva, which falls on their way. When the monkeys began to enjoy the fruits of the grove with the permission of Prince Angada, Dadhimukha, comes in their way and is lacerated with their claws and teeth.Recitation: 00:00 - 04:38Translation: 04:42 - 10:27

Feeling encouraged by the tributes paid to his valour by his fellow monkeys, Price Angada undertakes to exterminate the entire ogre race including Ravana and bring back Sita from Lanka. Jambavan, however, who is more sagacious and practical-minded, discourages him by recourse to potent counter-arguments.Recitation: 00:00 - 03:39Translation: 03:43 - 09:12

Picturing to his fellow monkeys the said plight of Sita, and feeling that it behoved them all to see Sri Rama only after recovering Sita from Lanka, recounting the past heroic exploits of Jambavan and others, Hanuman incites them all to have recourse to the arbitrament of war.Recitation: 00:00 - 05:33Translation: 05:37 - 13:41

Enquired by Jambavan, seated along with the monkey hordes, Hanuman narrates in extenso how he saw Mount Mainaka in the course of his journey to Lanka, reached Lanka, beheld Janaka's daughter and returned to Mount Mahendra.Recitation: 00:00 - 27:08Translation: 27:11 - 01:00:53

Having leapt from the coast of Lanka and touching the Mainaka mountain, which he came across in the way, advancing further, Hanuman roars at the top of his voice at the sight of the Mahendra mountain in order to bring joy to the monkeys awaiting his return there. Jambavan tells the monkeys, who got up impetuously on hearing the roar, that Hanuman has returned successful from his expedition as was evident from his jubilant roar. Having greeted Jambavan and others on alighting on the summit of the Mahendra mountain, Hanuman narrates to them in a nutshell the story of his discovery of Sita. Applauding Hanuman, Prince Angada, who was eager to hear the story, sits down to do so on an extensive flat rock along with all. Recitation: 00:00 - 08:53Translation: 08:55 - 20:11

In the tenth Canto of the Śrīmad Bhāgavatam, we find a verse left for all of us here today by Śukadeva Goswāmī. All of those who feel left behind, who feel hopeless in life, who are striving for the spiritual world, find that it's like reaching for the moon. He wrote: 'Jayanti jana-nivāso devakī-janma-vādo yadu-vara-pariṣat svair dorbhir asyann adharmam sthira-cara-vṛjina-ghnaḥ su-smita-śrī-mukhena vraja-pura-vanitānāṁ vardhayan kāma-devam (SB 10.90.48).' The verse starts with the word Jayati, which means victory, but it is written in the present tense because Śukadeva understood that people after Krishna's disappearance would feel separation from Him and wonder, "Why couldn't His pastimes have gone on even to the present day?" And here he's saying they are going on right now for us, right here in this room. 'Jayanti jana-nivāso devakī-janma-vādo' - He's the Lord who is jayanti jana-nivāsaḥ. He walks among us. He gives His association to all human beings, and for those who enter deeply within the sādhana given to us by Śrīla Rūpa Goswāmī, He is perfectly present in our lives. We need never fear separation from Him by continuing the transcendental vibration in our lives, and the transcendental vibration is the clarion call for everyone to go back home, back to Godhead. Anyone who wants to go back to Godhead, say, "Hare Krishna!" We're going to be singing the Hare Krishna mahā-mantra. This is the most famous song in the world. It's not only sweeping the nation here, but all over the world: Russia, Australia, China, Mexico, Japan. In the Śrīmad Bhāgavatam it is mentioned that in the spiritual world, every devotee of Krishna has a unique rāga or a melody for which he or she sings to Krishna from his or her heart. Then it goes on to say that actually, every species of life has a unique rāga to express their deep yearning for Krishna. This next rāga is called Haṃsadhvani, and it is the rāga of the swan. The gracefulness, the aesthetic beauty of the spiritual world, once captured in one's mind, it never leaves. And the song brings us to the swan swimming back to its home. So let's all take Haṃsadhvani into our heart and go back home, back to Godhead. ------------------------------------------------------------ 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 ------------------------------------------------------------ #spiritualawakening #soul #spiritualexperience #spiritualpurposeoflife #spiritualgrowthlessons #secretsofspirituality #vaisesikaprabhu #vaisesikadasa #vaisesikaprabhulectures #spirituality #bhaktiyoga #krishna #spiritualpurposeoflife #krishnaspirituality #spiritualusachannel #whybhaktiisimportant #whyspiritualityisimportant #vaisesika #spiritualconnection #thepowerofspiritualstudy #selfrealization #spirituallectures #spiritualstudy #spiritualquestions #spiritualquestionsanswered #trendingspiritualtopics #fanthespark #spiritualpowerofmeditation #spiritualteachersonyoutube #spiritualhabits #spiritualclarity #bhagavadgita #srimadbhagavatam #spiritualbeings #kttvg #keepthetranscendentalvibrationgoing #spiritualpurpose

At the end of their first conversation, Virgil and Statius reconstruct limbo. They transform it into a neighborhood where all the lost, classical writers live.They also transfer limbo's sighs from the damned to the poet Dante and potentially to his reader. Where have these great authors gone?And if their texts are one way to God, how many ways to redemption have then been lost with them?Join me, Mark Scarbrough, for the ironic and complex conclusion to Virgil and Statius' conversation in PURGATORIO, Canto XXII. We end at a place of the final misreading and misquotation: that of COMEDY itself.If you'd like to help underwrite the many fees and costs of this podcast, please consider making a one-time contribution or setting up a very small monthly stipend with this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[02:25] My English translation of the passage: PURGATORIO, Canto XXII, lines 94 - 114. If you'd like to read along or continue the conversation with me, please find the comment section for this episode on my website, markscarbrough.com.[04:31] The reconception of limbo over the course of COMEDY.[09:56] The Roman authors in the list of those lost.[17:48] The Greek authors in the list of those lost;.[21:02] The characters from Statius' poems who are apparently in limbo.[24:55] The displacement of Manto in COMEDY: the final misreading and misquotation in a canto full of them.[27:57] Rereading the passage: PURGATORIO, Canto XXII, lines 94 - 114.

18 tracce compongono l'ultimo progetto di Ilaria Pilar Patassini realizzato con Angelo Valori e Medit Orchestra.

Statius finally tells Virgil what we all want to know: the story of his conversion. How did this Latin poet who dedicated his great epic to a Roman emperor become a Christian.Through a long process and by subterfuge. Statius was a closeted or hidden (or to use the medieval Florentine term, "closed") Christian.Join me, Mark Scarbrough, as we look through this passage in which Dante the poet attempts to justify putting this pagan Roman poet in Purgatory and on his way to Paradise.If you'd like to help out with the costs of 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:[01:20] My English translation of the passage: PURGATORIO, Canto XXII, lines 76 - 93. If you'd like to read along or continue the conversation with me, find the entry for this episode on my website, markscarbrough.com.[03:27] Two minor issues: Who converted Statius? And was Dante the poet rethinking his position toward the neutrals in INFERNO?[08:08] Statius' journey in the afterlife to the fourth circle of Mount Purgatory . . . and where else?[08:40] Statius' improvised backstory and the inclusion of a historical figure: Emperor Domitian.[13:13] Dante's concept of conversion (v. modern conceptions).[16:36] Statius' words and the problem of the "above" text.[20:01] Texts in texts and the inevitable overlay of irony.[24:50] Rereading the passage: PURGATORIO, Canto XXII, lines 76 - 93.

Hanuman sees Sita once more and bidding adieu to her, takes a leap across the sea.Recitation: 00:00 - 08:33Translation: 08:37 - 19:25

Given that Statius claims a passage from The Aeneid made him see the error of his ways, Virgil wants to know how this poet of the Thebes could have ever become a Christian, particularly since his poetry shows little evidence of the faith.Statius replies with some of the most shocking lines in COMEDY: He became a Christian AND a poet because of the damned, pagan Virgil. Virgil's own poetry led Statius to his profession and his confession.To put it another way, Statius was redeemed, not by divine light, but a small human candle.Join me, Mark Scarbrough, as we work our way through one of the most revelatory passages in all of PURGATORIO, lines that help us understand the framework of COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:53] My English translation of the text: PURGATORIO, Canto XXII, lines 55 - 75. If you'd like to read along or drop a comment to start a conversation, please find the entry for this episode on my website, markscarbrough.com.[04:39] Virgil's questions about Thebes, history, and faith.[15:02] Virgil's inspiration toward both poetry and God.[19:07] Statius' misquoting from Virgil's ECLOGUES.[27:31] Poetry and conversion founded in inspiration from a text.[30:01] Statius and Christianity in COMEDY.[32:00] Rereading the text: PURGATORIO, Canto XXII, lines 55 - 75.

Seeing the whole of Lanka reduced to ashes and presuming Sita too to have shared its lot, Hanuman begins to reproach himself and gets overwhelmed with grief. In the meantime, he hears of her safety from the lips of Siddhas, Chaaranas (celestial bards) and others and feels comforted.Recitation: 00:00 - 06:03Translation: 06:06 - 15:12

Narrating the story of Sri Rama from the latter's entry into the forest, to his own sight of Sita being borne away by Ravana through the air over the Rshyamuka mountain, and celebrating the glory of Sri Rama, Hanuman points out to Ravana that if he longed to survive he should restore Sita to Sri Rama and that he should be prepared for the worst if, on the other hand, he chooses not to part with her.Recitation: 00:00 - 07:52Translation: 07:56 - 19:03

Provoked by the harsh words of Hanuman, Ravana orders him to be put to death. Vibhishana, however, exhorts the latter to desist from this dastardly act, pointing out that the killing of an envoy is forbidden by the Shastras.Recitation: 00:00 - 05:53Translation: 05:57 - 13:52

Wrapping up the tail of Hanuman in rags and soaking it in oil, and then lighting it up, the ogres, as urged by Ravana, take Hanuman round the city to the accompaniment of beats of drums. Hearing this news from the lips of the ogresses, Sita prays to the god of fire on oath to see that Hanuman remains unscathed. Climbing up the gate and shedding the fire by attenuating his body, and then resuming vast proportions and seizing the iron bar of the gate, Hanuman kills with it the ogres guarding the gate.Recitation: 00:00 - 07:53Translation: 07:56 - 18:14

Making up his mind to set fire to the city of Lanka, which was the only work left for him to do, and coming out into the open, Hanuman burns the entire city barring the abode of Vibhishana. Astonished to see the city burning, the gods and Gandharvas (celestial musicians) are filled with supreme joy.Recitation: 00:00 - 09:40Translation: 09:43 - 22:10

Statius and Virgil continue their conversation as they climb to the sixth terrace with the pilgrim Dante.Statius explains that he discovered his error when he read two lines from Virgil's AENEID. The problem is that Statius misquotes these lines and misinterprets them, making them fit his personal situation while pushing them through Aristotle's ethics.Join me, Mark Scarbrough, as we look at this wild passage that has inspired over seven hundred years of commentary. What if the way you can get saved is by misinterpreting a classical text?Here are the segments for this episode of WALKING WITH DANTE:[01:57] My English translation of the passage: PURGATORIO, Canto XXII, lines 25 - 54. 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.[05:08] The binary relationship becomes a triangulation, thereby elevating the pilgrim Dante.[08:30] Statius' changing status in Purgatory colors (or darkens) Aristotle's notions of accidents and substances.[16:06] Statius seems to have read Dante's INFERNO![21:19] Statius misquotes and misinterprets a passage from THE AENEID, which then leads to his salvation (or at least to the recognition of his errors).[29:16] Avarice and prodigality are apparently mostly connected to the clergy.[30:18] The whole discussion falls back to Aristotle's ethics, (mis)interpreted for the Christian reader.[32:58] To sum, a misquoted, misinterpreted passage from classical literature begins the journey toward redemption.[35:46] Rereading the passage: PURGATORIO, Canto XXII, lines 25 - 54.

Concierto de la cantante y estudiosa Fabiana Cozza en el Teatro Leal de San Cristóbal de la Laguna (Tenerife) el pasado 4 de octubre como parte de la 21ª edición del Festival Tensamba. Toda la riqueza de las expresiones musicales afrobrasileñas en temas como 'Voz guia' y 'Orixá' de Roberto Mendes y Jorge Portugal, 'Ogâ de Ogum', de Moyseis Marques y Luiz Antonio Silva, 'Azul' de Djavan, 'Canto pra Xangô' y 'Canto de Ossanha' de Baden Powell y Vinicius de Moraes, 'Velhos de coroa' de Sérgio Pererê, 'Filhos de Iemanjá' de Vidal Assis o 'Coisa feita' de João Bosco y Aldir Blanc.Escuchar audio

Commanded by Ravana, Prahasta inquires of Hanuman as to who he was as also his motive in devastating the royal pleasance and killing the ogres. In reply Hanuman says that he destroyed the grove in order that he might be taken captive and dragged to the presence of Ravana, whom he was eager to see, and was compelled in self-defence to kill those who stood in his way. In the end he declares himself to be a messenger of Sri Rama and adds that, though protected against the missile presided over by Brahma, he submitted to its influence only in order to be able to see Ravana.Recitation: 00:00 - 03:18Translation: 03:21 - 09:07

Wonderstruck to behold the splendour and glory of Ravana, Hanuman believes that he could even rule over heaven but for his gross unrighteousness which dragged him down.Recitation: 00:00 - 03:35Translation: 03:39 - 08:22

Podcast de Mercado Abierto

Roberto Moro y Jorge del Canto analizan los títulos de Logista, Iberdrola, IAG y Repsol

Podcast de Mercado Abierto

Roberto Moro y Jorge del Canto analizan los títulos de Logista, Iberdrola, IAG y Repsol

Roberto Moro y Jorge del Canto analizan los títulos de Logista, Iberdrola, IAG, Repsol, Allianz, Endesa, Sabadell e Indra

SHOSTAKOVICH: Cuarteto de cuerda nº 2 en La Mayor, Op. 68 (33.10). S. Schmidt (vl.), N. Schmidt (vl.), R. Glassl (vla.), B. Schmidt (vc.). Cuarteto Mandelring. 6 Piezas para niños, Op. 69 (4.48). H. Sánchez Anzola (p.). Canto de la joven (De la poesía popular hebrea, Op. 79) (2.26). N. Dorlian (sop.), D. Shostakovich (p.).Escuchar audio

Blinded by the angel, Dante the pilgrim begins his climb to the sixth terrace of Mount Purgatory. But his plight is overshadowed by Virgil's desire to know more about Statius . . . in this strange passage of misquotings and misreadings.The angel cuts short a beatitude from the gospels. Virgil seems to misquote Francesca from INFERNO, Canto V. And Virgil himself seems to toss out Aristotle's Golden Mean to get what he wants from Statius.Join me, Mark Scarbrough, as we work through the start of many misquotations and misreadings that make up PURGATORIO, Canto XXII.If you'd like to help out with the many fees associated with this podcast, you can offer a one-time donation or a small monthly stipend of a couple of dollars, pounds, or Euros, using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:59] My English translation of the medieval Florentine. If you'd like to read along or add a comment to continue the discussion with me, please find the entry for this episode of the podcast on my website, markscarbrough.com.[04:02] My opening remarks on PURGATORIO, Canto XXII.[06:57] The climb and the truncated beatitude.[12:23] Action off-stage . . . because of haste or because of blindness?[15:47] Virgil's quotation (or misquotation) of Francesca from INFERNO, Canto V.[20:55] Virgil's tragedy and Dante's hope.[25:43] The question on all of our minds (with a passing reference to Aristotle's Ethics).[29:29] Rereading the passage: PURGATORIO, Canto XXII, lines 1 - 24.

Grabaciones bossa nova en las guitarras de Luiz Bonfá ('Um abraço no Getz' -con el saxofonista Stan Getz-, 'Samba de Orfeu'), João Gilberto ('Um abraço no Bonfá'), Charlie Byrd ('Bim bom', 'Desafinado' -con Stan Getz-), Laurindo Almeida ('Outra vez' -con Stan Getz-), Baden Powell ('Tristeza', 'Canto de Ossanha'), Wes Montgomery ('Insensatez'), Joe Pass ('Meditação', 'The gentle rain' -con el percusionista Paulinho da Costa-), Jim Hall ('Simple samba'), Kenny Burrell ('Minha') y George Benson ('Jackie, all'). Escuchar audio

Hoy vas a conocer el relato de Carolina González, que nos cuenta cómo fue su experiencia de parir en casa en Colombia. Si a veces pensamos que en España los protocolos tienden al intervencionismo, has de saber que en Colombia son incluso más alarmistas, y hay incluso menos red de apoyo y recursos disponibles para las mujeres que prefieren parir en casa y no en un hospital. Carolina encontró a profesionales que pudieran atenderle, y tuvo un parto magnífico que da gusto escuchar. Espero que disfrutes este episodio, ¡clica PLAY y empezamos! ************************ Por petición popular, por fin me he decidido a grabar mis propios relatos de parto - y me hace mucha ilusión compartirlos contigo, porque además vendrá con una invitación especial. Si los quieres escuchar suscríbete para recibir el acceso, porque no voy a poner mi episodio aquí en la biblioteca, sino en un espacio privado. El enlace para apuntarte y escuchar el episodio es https://www.planetaparto.es/isa

En estos días se cumple el medio siglo de la grabación del "Canto a la Libertad" de José Antonio Labordeta, una canción convertida en himno. Con el productor de la grabación, Placido Serrano volvemos al pasado para recordar una grabación peculiar.

In this Fanbase Feature, The Fanbase Weekly co-hosts Bryant Dillon and Claire Thorne are joined by special guests David M. Booher (Eisner Award and GLAAD nominated writer - Ghostbusters: Back in Town, Canto, Killer Queens) and Art Ebuen (Emmy Award-winning animator, writer – California, Inc.) for a thorough discussion regarding Ex Machina (2015) in light of the feature film's 10th anniversary, with topics including the film's messages regarding artificial intelligence, how the film's warnings of tech bro culture resonate today, if the audience should trust or feel sympathy for Ava, and more. (Beware: SPOILERS for Ex Machina abound in this panel discussion!)

Escuchamos la música que acompaña el día a día de la diseñadora de vestuario Arantxa Ezquerro. Tomamos el vermú celebrando los 50 años del ‘Canto a la libertad' de Labordeta con el periodista Plácido Serrano y la actriz e hija del “Abuelo”, Ana Labordeta.

Statius has sung his (first!) hymn of praise to Virgil without knowing that the old poet is right in front of him. Dante the pilgrim is caught between them in this most human episode with his master, Virgil, demanding silence and his new friend, Statius, wanting to know why the pilgrim is smiling.Which means Dante is also caught on his emotions which seem to be overriding his will . . . in a canto about the will's primacy.Join me, Mark Scarbrough, for the very human ending to his surprising and comedic canto in PURGATORIO.If you'd like to help out with the many fees associated with this podcast, for streaming, hosting, editing, and more, 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:[02:25] My English translation of the passage. If you'd like to read along or continue the conversation, please find the entry for this episode on my website, markscarbrough.com.[05:33] The curious inelegance of the poetry in this passage.[08:31] The welling up of emotions into the eyes.[11:50] Virgil's curious reticence.[13:21] The will v. the emotions--ever the human dilemma.[17:43] The dramatization of the anxiety of influence--and of the divided will.[19:56] The revelation of Virgil on this road to Emmaus.[22:46] Polytheism in this monotheistic poem?[24:10] Statius' error and apology.[29:12] The imperfections of the perfected.[31:03] Rereading the passage: PURGATORIO, Canto XXI, lines 103 - 136.

Having killed five more generals sent by Ravana, Hanuman returns again to the archway of the Ashoka grove.Recitation: 00:00 - 07:03Translation: 07:04 - 16:06

Prince Aksha, son of Ravana, who came to meet Hanuman in combat, is killed.Recitation: 00:00 - 09:01Translation: 09:05 - 22:02

Dispatched by Ravana, Indrajit, Ravana's eldest son, marches against Hanuman. On his shafts being rendered ineffective by Hanuman through his extreme agility, Indrajit takes him captive by discharging the Brahmastra, the unfailing missile presided over by Brahma (the creator). Even though capable of rendering it ineffective, Hanuman yields to its influence, eager as he was to meet Ravana, to whose presence he is led by his son.Recitation: 00:00 - 11:53Translation: 11:55 - 29:35

Perceiving the destruction of the royal pleasance at the hands of Hanuman, the ogresses keeping watch over Sita asked her who he was. On Sita's pleading her ignorance in the matter, some of them hurriedly seek the presence of Ravana and report the matter to him. Hanuman makes short work of a company of ogres known by the name of Kinkaras, despatched by Ravana. Thereupon Ravana sends Prahasta's son to punish the intruder.Recitation: 00:00 - 07:31Translation: 07:33 - 16:42

Having disposed of the Kinkaras sent by Ravana and making up his mind to demolish the sanctuary sacred to the guardian deity of ogres, Hanuman climbs it up and, killing the guards posted there, exhibits his prowess by uttering the name of Sri Rama in a thundering voice. Nay, uprooting a pillar of the sanctuary, he brandishes and burns the sanctuary with the fire produced thereby.Recitation: 00:00 - 04:25Translation: 04:28 - 10:21

Having made short work of the seven sons of Ravana's chief minister too, Hanuman climbs up the archway again and takes up his position there.Recitation: 00:00 - 03:09Translation: 03: 14 - 07:20

We finally get to know our unknown shade on the fifth terrace of Purgatory: Statius, the epic Roman poet.His salvation is one of the most audacious moves in all of COMEDY. Dante has to work every fiction-making muscle he has to assert that this pagan poet has spend so long in Purgatory on his way to heaven . . . and finds himself face to face with Virgil, his poetic inspiration and apparently the carrier of God's revelation.Join me, Mark Scarbrough, as we discover another way that love moves the fence.Here are the segments for this episode of WALKING WITH DANTE:[01:52] My English translation of the passage: PURGATORIO, Canto XXI, lines 76 - 102. 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.[04:49] Introducing Publius Papinius Statius (45 - 96 CE), the author of THE THEBIAD and THE ACHILLEID . . . and a soul who should never be here in Purgatory.[10:36] Virgil's continued insistence on the "why?"[13:38] The lamentable if inevitable bloom of antisemitism in COMEDY.[17:30] Statius, always without faith in the historical record but always vocalized in COMEDY.[20:36] The shocking conjunction of THE AENEID and babytalk.[24:06] A bit of heresy from Statius . . . unless the redeemed don't have to be perfect.[27:19] Why Statius in Canto XXI of PURGATORIO?[31:35] Rereading the passage: PURGATORIO, Canto XXI, lines 76 - 102.

The still-unknown shade on the fifth terrace of Mount Purgatory rounds out his answer to Virgil's questions with some shocking revelations: The souls in Purgatory seem to declare the moment they're cleansed. The will is the only proof that their penance is complete. They stand up. They choose to move on.Or do they? Is it that simple? Or theologically explosive? This passage is easy to overstate, particularly in the modern world. But there are actually at least two safeguards on this notion of free will in the soul's answer.Join me, Mark Scarbrough, as we explore the theological second half of the soul's answer to Virgil's questions.Here are the segments for this episode of WALKING WITH DANTE:[02:02] My English translation of the passage: PURGATORIO, Canto XXI, lines 58 - 75. If you'd like to read along or continue the conversation with a comment, please find the entry for this episode on my website, markscarbrough.com.[05:13] The supremacy of the will (and of interiority).[10:10] The supremacy of divine justice (and a counterweight in the argument).[14:28] The turn to the speaker's autobiography.[17:06] The pilgrim as a third in an otherwise simple dialogue between two.[19:31] Rereading the entire answer to Virgil's questions: PURGATORIO, Canto XXI, lines 40 - 75.

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.