Podcasts about Canto

The slumbering Kumbhakarna is roused by the ogres under orders of their king, who felt disconsolate at his own defeat, and the monkeys get alarmed to see the former.Recitation: 00:00 - 16:52Translation: 16:54 - 39:42

Ravana's sons and brothers sally forth for an encounter and Narantaka meets with his death at the hands of Angada.Recitation: 00:00 - 16:37Translation: 16:40 - 38:41

Nila kills Prahasta.Recitation: 00:00 - 09:58Translation: 10:00 - 22:38

Disconsolate at the death of Prahasta, Ravana himself appears on the battlefield for an encounter. After a tough fight with Sugriva, Lakshmana, Hanuman and Nila, Ravana meets Sri Rama and, sustaining an ignominious defeat at the latter's hands and escaping with his life, withdraws to Lanka.Recitation: 00:00 - 27:33Translation: 27:36 - 01:05:56

Vibhishana acquaints Sri Rama with Kumbhakarna and the monkeys take up their position firmly at the gates of Lanka for an encounter under orders of Sri Rama.Recitation: 00:00 - 07:06Translation: 07:09 - 16:07

Kumbhakarna enters the palace of Ravana, who warns him of the danger from Sri Rama and urges him to destroy the enemy's army.Recitation: 00:00 - 04:13Translation: 04:16 - 09:56

Kumbhakarna twits Ravana for all his misdeeds and reassuring him, shows his determination for a conflict.Recitation: 00:00 - 09:44Translation: 09:47 - 23:51

Mahodara twits Kumbhakarna and suggests to Ravana a device to achieve his end without a struggle.Recitation: 00:00 - 06:12Translation: 06:15 - 15:37

Kumbhakarna's sally for an encounter.Recitation: 00:00 - 09:48Rranalation: 09:52 - 22:48

Angada reassures and rallies the monkeys scared away by Kumbhakarna; their carnage at the hands of Kumbhakarna puts them to flight again and Angada restores them to confidence once more.Recitation: 00:00 - 05:55Translation: 05:59 - 13:35

Ravana's lament over Kumbhakarna's fall.Recitation: 00:00 - 04:14Translation: 04:16 - 10:00

Kumbhakarna's terrible encounter with Sri Rama and death at his hands.Recitation: 00:00 - 32:06Translation: 32:10 - 01:15:30

From tragedy to comedy, the apocalyptic vision in Canto XXXII has come to an end and Beatrice accepts Dante as her walking companion in Eden.A relatively easy passage begins the final canto of PURGATORIO, perhaps a breather before the much more difficult material that will make up the bulk of the last canto of PURGATORIO.Join me, Mark Scarbrough, as we walk with Beatrice, Dante, the seven ladies, the lady who tends Eden, and Statius. They're a final parade to wrap up this second canticle of COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:26] My English translation of PURGATORIO, Canto XXXIII, Lines 1 - 24. 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.[03:31] Possibly, a simple interlude between much more difficult passages.[04:58] The Latin quotation from Psalm 78/79 that opens the final canto of PURGATORIO.[09:19] Beatrice's Latin quotation from the Gospel of John as Dante fuses Mary and Jesus into her character.[16:46] Beatrice's parade and the question of her nine steps.[21:53] Beatrice, Dante's new guide across the known universe.[26:51] Rereading the passage: PURGATORIO, Canto XXXIII, lines 1- 24.

An encounter between Vajradamshtra and Angada, who kills the former.Recitation: 00:00 - 06:23Translation: 06:27 - 14:10

Akampana and other ogres appear on the field of battle under orders of Ravana and wage a deadly conflict with the monkeys.Recitation: 00:00 - 05:25Translation: 05:29 - 12:03

Hanuman kills Akampana.Recitation: 00:00 - 06:37Translation: 06:40 - 14:55

Under orders of Ravana, Prahasta sallies forth with a large army for the battlefield.Recitation: 00:00 - 07:37Translation: 07:43 - 18:03

Today on Ascend: The Great Books Podcast, Dcn. Harrison Garlick and Fr. Patrick Biscoe, OP, discuss gluttony and lust in Dante's Purgatorio, Cantos 23-27.Check out thegreatbookspodcast.com for more information.Check out our LIBRARY OF WRITTEN GUIDES for the great books.Check out the Dominicans, the Order of Preachers.Check out Fr. Patrick Briscoe, OP, at Godsplaining Podcast.In this episode of Ascend: The Great Books Podcast, Deacon Harrison Garlick is joined by Dominican friar Fr. Patrick Briscoe, OP, currently serving in Rome as the Order's General Promoter for Social Communication. The conversation opens with Fr. Patrick explaining Dominican life, the charism of preaching rooted in study and contemplation, the historical significance of Santa Sabina, and the Order's ongoing vitality—especially through institutions like the Angelicum. The bulk of the episode then offers a close, theologically rich reading of the Purgatorio.The hosts explore how Dante structures these sins as forms of excessive or misdirected love, placing them high on the mountain because they are less grave than pride, envy, or wrath, yet still require deep purification. Key themes include the contrapasso of emaciated souls on the gluttony terrace, the “OMO DEI” face motif symbolizing refashioning in God's image, the role of intercessory prayer (especially Nella's for Forese Donati), the two instructive trees, medieval embryology and hylomorphism (how airy shades appear gaunt), and the wall of flame on the lust terrace.They highlight Dante's nuanced treatment of lust—treating both heterosexual excess (Pasiphaë/bestiality) and sodomy as incontinence—while emphasizing the praise of chaste marriage and the enduring good of ordered eros. The episode closes powerfully with Virgil's farewell in Canto 27, crowning Dante “lord of himself” once his will is aligned with the good, symbolizing true Christian freedom.Throughout, the discussion weaves literary analysis with practical spiritual application—especially apt for Lent—showing Purgatorio as a map for self-mastery, image perfection, and liberation from disordered desire. Fr. Patrick and Dcn. Garlick underscore Beatrice as an icon of divine beauty and grace, whose memory motivates Dante through the flames rather than being purged away. The episode ends with an invitation to reread the text, follow the Dominicans' work, and prepare for the Earthly Paradise cantos in the next installment.Chapters00:00 Introduction to Ascend and Dante's Purgatorio07:37 The Role of Communication in the Dominican Order13:24 Contrapasso and the Nature of Sin18:19 The Importance of Free Will in Purgatory24:03 The Interconnectedness of Souls29:49 Family Dynamics in the Afterlife35:59 Exploring Purgatory's Dynamics39:49 Consequences of Disordered Love43:43 Desires and Reason in Purgatory48:39 Understanding Gluttony and Vigilance52:13 Beatitudes and Spiritual Hunger57:07 Gradations of the Soul58:53 The Relationship Between Body and Soul01:02:02 The Finality of Body and Soul Reunion01:06:51 The Transition to Lust in Purgatory01:08:02 Contrasting Spirits on the Mountain01:08:30 Marian and Pagan Examples of Purity01:09:25 The Nature of Purification in Purgatory01:10:55 The Healing Power of Praise01:11:41 Understanding Sexuality and Love01:12:53 Dante's Quasi-Liturgical Procession01:14:02 The Psychology of Lust in Purgatory01:16:03 The Nature of Sin and Its Consequences01:17:48 The Unnaturalness of Lust01:19:33 The Direction of Souls in Purgatory01:20:55 The Role of Intercessory Prayer01:21:48 Dante's Final Challenge01:23:11 The Role of Beatrice in Dante's Journey01:25:38 Purification Through Love01:27:55 The Symbolism of Eyes and Intellect01:30:37 Virgil's Final Guidance to Dante01:34:13 The Aim of Lent and Self-MasteryFollowing us on X, Facebook, and More!

Indrajit having re-entered Lanka, Hanuman and other monkeys encompass Sri Rama and Lakshmana and guard their bodies. Having dismissed Indrajit, Ravana commands the ogresses guarding Sita to take her to the field of battle and show her the plight of Sri Rama and Lakshmana. The ogresses, headed by Trijata, accordingly take her in the aerial car, known by the name of Pushpaka, and show her the two princes lying unconscious and motionless on the ground. Sita bursts into a piteous wail on seeing her husband and brother-in-law in that plight.Recitation: 00:00 - 04:20Translation: 04:24 - 09:55

Hearing the tumultuous rise of the monkeys, the servants of Ravana, detailed for the purpose, report to him how the two scions of Raghu were freed from the bondage of arrows. Depressed by this news, Ravana dispatches Dhumraaksha to dispose of Sri Rama. Though perturbed at the sight of evil portents, yet unwilling to retrace his steps on any account, Dhumraaksha surveys the army of the monkeys.Recitation: 00:00 - 06:26Translation: 06:31 - 14:56

Dhumraaksha fights and is killed by Hanuman.Recitation: 00:00 - 06:49Translation: 06:53 - 15:01

The monkeys' tough fight with the ogre Vajradamshtra dispatched by Ravana, who is provoked by the death of Dhumraaksha.Recitation: 00:00 - 05:36Translation: 05:40 - 12:25

"Those well-versed in physiognomy and palmistry prophesied that I would never be widowed and would bear sons. How could their predictions prove untrue?" While Sita was absorbed in these thoughts on beholding Sri Rama and Lakshmana, Trijata reassures her on the strength of good omens and, cheering her soul, takes her back to the Ashoka grove.Recitation: 00;00 - 06:20Translation: 06:24 - 16:00

Beholding Vibhishana, Sugriva asks Jambavan to restore the fleeing monkeys to confidence and himself reassures Vibhishana. In the meantime, Garuda, the king of birds, makes his appearance on the scene and liberates Sri Rama and Lakshmana from their bondage.Recitation: 00:00 - 10:50Translation: 10:55 - 26:00

During the nocturnal engagement the monkeys too dauntlessly offer a stiff fight to the ogres even though they were fighting against heavy odds inasmuch as the strength of ogres gets doubled at night, and felt highly rejoiced to find Indrajit vanquished by Angada. Sri Rama and Lakshmana too put to flight numberless foes with their shower of arrows. Eventually, however, they are both bound by Indrajit in a noose of serpents.Recitation: 00:00 - 06:38Translation: 06:40 - 16:32

In the course of duels the ogres and the monkeys, in which Angada closes with Indrajit, the heads of Durdharsha, Mitraghna, Agniketu and Yagnakopana are lopped off by Sri Rama and that of Nikumbha by Nila and, killed by Susanna, Vidyunmali drops down dead.Recitation: 00:00 - 07:39Translation: 07:45 - 17:52

Returning to consciousness Sri Rama wails over the lot of Lakshmana and the monkeys too fall a prey to extreme despondency on seeing Sri Rama wailing as aforesaid. Seeing Vibhishana approach Sri Rama in the meantime, they all take to their heels, mistaking him for Indrajit.Recitation: 00:00 - 05:36Translation: 05:40 - 13:10

Distressed to perceive the two scions of Raghu bound by Indrajit in a network of arrows and pierced with other fierce arrows, the monkeys give way to utter despondency.Recitation: 00:00 - 04:45Translation: 04:47 - 12:30

Though itching to kill the enemy on beholding Sri Rama and Lakshmana enmeshed in a network of snakes, the monkeys, who were unable to perceive him, felt frustrated. Vibhishana exhorts Sugriva, who was seized with fear on finding Indrajit hidden under the cloak of witchcraft, to take heart and not to give way to fear. Concluding the two brothers to be dead, Indrajit, for his part, triumphantly enters Lanka and is welcomed by his father.Recitation: 00:00 - 08:10Translation: 08:15 - 19:12

Ascending the highest peak of the Suvela mountain along with a division of his army, Sri Rama catches sight of Ravana perched on the top of a gate of his palace. Infuriated at his very sight, Sugriva springs upon him by surprise from the mountain-top, throws down the diadem from his head, struggles with him for a long time and, eluding him, returns victorious to the presence of Sri Rama.Recitation: 00:00 - 05:54Translation: 05:59 - 14:57

Sri Rama is not very pleased with the daring act of Sugriva inasmuch as he had seen evil portents. Warning him against such action on the ground of his being a sovereign, and commanding the monkey generals to besiege all the four gates of Lanka, he dispatches Angada to expostulate with Ravana and bring him to reason. Angada tries his best to bring him round, but in vain, and returns unsuccessful to the presence of Sri Rama after threatening the ogres.Recitation: 00:00 - 16:20Translation: 16:25 - 39:06

Climbing up the Suvela mountain in consultation with and in the company of Lakshmana and Vibhishana as well as of Sugriva and others, Sri Rama surveys the city from that vantage-ground. The eminent heroes among the monkeys too, who were eager to fight, roar at the top of their voice and spend the night on the mountain itself with Sri Rama.Recitation: 00:00 - 03:30Translation: 03:32 - 08:25

While, on reaching the precincts of Lanka, Sri Rama and Sugriva as well as other monkeys headed by Hanuman were deliberating as to how to achieve success in their expedition, Vibhishana apprises them of the arrangements made by Ravana at the four gates for the defence of Lanka, as reported to him by his four ministers, who had entered Lanka in the disguise of birds and witnessed everything with their own eyes. Sri Rama too after detailing monkeys to storm the four gates climbs up the Suvela mountain with his army.Recitation: 00:00 - 06:32Translation: 06:37 - 15:42

Approaching Ravana, the ogres break to him the news about Lanka having been laid siege to by the monkeys led by Sri Rama. Ascending the roof of his palace and taxing his brain about the means of putting an end to the monkeys, he casts a look at Sri Rama and the monkeys. Pained at the thought that Sita was being bullied by Ravana on his account, and commanding the monkeys to besiege all the four gates of Lanka and to destroy the ogres, Sri Rama, on the other side, takes up his position along with Lakshmana near the northern gate. Apprised of these developments, Ravana mobilises his army and, encouraged by him, the ogres beat their drums and emit a terrible roar.Recitation: 00:00 - 08:05Translation: 08:08 - 18:59

Having passed the night on the summit of the Suvela mountain, the commanders of the simian troops entered the parks and gardens in the outskirts of Lanka, which were laden with blossom etc., while others make their way into Lanka itself. Sri Rama, however, feels amazed to behold from the mountain-top Lanka, which was charming in every respect.Recitation: 00:00 - 05:10Translation: 05:15 - 11:50

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?

Deriding the exhortation of Maalyavaan, even though conducive to his good, holding consultation with his ministers and detailing Prahasta (the Commaner-in-chief) and others to guard the four main gates against the inroads of the enemy, Ravana complacently retires into his gyneaceum.Recitation: 00: 00 - 03:56Translation: 04:00 - 08:53

In this podcast we discuss love, sloth, and free will in the context of Canto 18 of Dante's "Purgatorio." What is the nature of love, and how does it affect our souls? What is the true meaning of sloth? What place does free will have in our lives? We explore these questions.

Urged by Sita, Sarama discloses to her the definite plans of Ravana devised by him in consultation with his ministers.Recitation: 00:00 - 04:58Translation: 05:00 - 11:42

Observing in Lanka evil portents and startling phenomena foreboding the destruction of ogres, Maalyavaan exhorts Ravana to make peace with Sri Rama.Recitation: 00: 00 - 06:43Translation: 06:49 - 15:25

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.

If you want to build a skyscraper, you first think about it. Then, it will come to the mind level—you start considering how you might do it. And then, you speak it. Then all the ingredients, as he (Srila Prabhupada in the 3rd Canto) said, are already there in the world, but by your speech, they come together. That's why people were able to do so much even during the pandemic. When they weren't touching anything, they were just on Zoom talking; they talk, talk, talk, and the ingredients somehow come together, and you keep building. So, we build the world through our speech—in other words, through sound vibration. In the reverse process with mantra, you have the spoken mantra and you have attentive hearing. Then there's an internalization of the sound, and then there is an awakening of desire for Kṛṣṇa. It's coming in reverse order: you're saying it, and it's coming 'down' and affecting us internally. So it is going from: Tongue → Mind → Heart → Soul. ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 https://vaisesikadasayatra.blogspot.com/ ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 https://www.bbtacademic.com/books/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 https://thefourquestionsbook.com/?utm_source=youtube&utm_medium=video&utm_campaign=launch2025 ------------------------------------------------------------ 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 #mantrameditation #chantharekrishnaandbehapy #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

Today on Ascend: The Great Books Podcast, Dcn. Harrison Garlick and Dr. Sarah Berry of the University of Dallas discuss Acedia, Avarice, and part of Gluttony in Cantos 18-22 of the Purgatorio.Visit thegreatbookspodcast.com for more information!Check out our GUIDE to the Purgatorio!Dr. Sarah Berry joins Deacon Harrison Garlick to explore Cantos 18–22, covering the terrace of sloth (acedia) and the transition into avarice and prodigality. In Canto 18, Virgil delivers a pivotal discourse on love as the root of all human action, explaining that love can be misdirected (pride, envy, wrath), deficient (sloth), or excessive (avarice, gluttony, lust). Berry emphasizes the terrace's brevity and lack of a formal prayer: “their prayers are their action... the penitents too... are doing the thing as a way of offering up some kind of prayer to God” (Dr. Sarah Berry), with running souls and examples of zeal (Mary's haste to Elizabeth, Caesar's swift march) countering sloth's cooling of love. The dream of the siren in Canto 19 warns against deceptive earthly goods, while the face-down penance on the avarice terrace forces fixation on the earth once loved excessively: “these are those who had a disordered love of money... goods that can't be shared” (Dr. Sarah Berry).Cantos 20–22 deepen the exploration of avarice's societal and personal consequences. Hugh Capet's lament in Canto 20 indicts the French dynasty's greed and sacrilege, including the capture of Boniface VIII. Berry highlights the terrace's broadened scope: “Dante is really broadening... our awareness of this constellation of problems” beyond mere hoarding or spending. In Canto 21, Statius is released with an earthquake and song, explaining his long purgation on sloth and avarice before moving freely upward. Canto 22 poignantly contrasts Statius (saved through Virgil's influence and grace) with Virgil himself, who lacks faith despite his virtues. Berry notes the tragedy: “Dante is inviting us... hoping that there is some special providence for Virgil at the end of his journey through purgatory” (Dr. Sarah Berry). The cantos reveal Purgatorio's hopeful, dynamic nature: purgation reorders love through grace, habituation, and contemplation, moving from deficient to excessive attachments, preparing the soul for divine union.Chapters00:00 Introduction to Ascend and Dante's Purgatorio02:29 Exploring Dante's Purgatorio: Themes and Structure04:30 The Importance of Purgatorio in Spiritual Growth08:32 Understanding Love and Culpability in Purgatorio12:00 Diving into Canto 18: The Lesson on Love13:26 Virgil's Discourse on Love and Free Will17:40 The Nature of Love: Ascent and Culpability20:31 The Role of Reason in Human Actions26:01 The Formation of Intellect and Will33:12 Contrapasso: The Penance of Slothfulness40:19 Examples of Zeal: Mary and Caesar42:17 Understanding Zeal and Sloth47:04 The Subtlety of Sin and Human Effort52:31 Dreams and Allegory in Purgatory01:00:27 The Nature of Prayer and Action01:01:58 Exploring Avarice and Its Consequences01:20:15 Exploring Dante's Inferno: Sin and Intellect01:23:03 Wrath and Sloth: Roots of Sin in Purgatorio01:25:23 Positive Examples: Virtue Against Avarice01:29:30 Dante's Critique of French Dynasties01:35:56 The Role of Statius: A New Perspective01:50:30 Virgil's Tragic Journey: Hope for Salvation?KeywordsDante's Purgatorio, Sloth, Love, Virtue, Spiritual Growth, Theology, Literature, Dante, Purgatory, Christian Virtues Dante, Purgatorio, allegory, sin, virtue, divine justice, theology, Mount Purgatory, purgation, salvation

Cuarteto de cuerdas femenino, fundado hace nueve años en Nueva York y con sede actualmente en Madrid, O Kwarteto ama la música brasileña como lo demuestra que para su primer Ep 'Orbitando' haya grabado 'Canto de Ossanha' de Baden Powell y Vinicius de Moraes, 'É doce morrer no mar' de Dorival Caymmi, 'Parima' de la violista y 'Feira de mangaio' de Sivuca. Los gallegos de Turma Caipira, cuya cantante es Marga Ramos, con 'Bellis silvestris', 'A praia' y 'Amor demais'. El pianista italiano Antonio Faraò, en su primer disco en solitario, 'Kind of... piano solo', con 'I didn´t know what time it was' de Rodgers y Hart, 'O que será' de Chico Buarque y sus propias composiciones 'Gospello', 'Kind of...' y 'Sulle nuvole'. Y el guitarrista franco-británico Hugo Lippi al frente de un cuarteto para tocar 'Do it again' de Steely Dan, 'Still crazy after all these years' de Paul Simon o 'L´Hymne à l´amour' de Piaf.Escuchar audio

Dal Canto “Canto notturno di un pastore errante dell’Asia”Scritta e messa in voce da Gaetano Marino Continue reading

dal Canto “L’infinito”Scritta e messa in voce da Gaetano Marino Continue reading

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.

Raghunath and Kaustubha enter the sacred poetry of Canto 10, Chapter 21—The Gopīs Glorify the Song of Kṛṣṇa's Flute. This is the theological summit of bhakti yoga, where love is defined, refined, and elevated beyond ritual, beyond liberation, beyond even the reverence of the gods. This is not ordinary romance. This is gopī-prema—the highest expression of divine love. When divine sound penetrates the heart, nothing remains the same. ******************************************************************** LOVE THE PODCAST? WE ARE COMMUNITY SUPPORTED AND WOULD LOVE FOR YOU TO JOIN! Go to https://www.wisdomofthesages.com WATCH ON YOUTUBE: https://youtube.com/@WisdomoftheSages LISTEN ON ITUNES: https://podcasts/apple.com/us/podcast/wisdom-of-the-sages/id1493055485 CONNECT ON FACEBOOK: https://facebook.com/wisdomofthesages108 *********************************************************************

Today on Ascend: The Great Books Podcast, Dcn. Harrison Garlick and Dr. Jessica Hooten Wilson of Pepperdine University discuss cantos 13-17 of Dante's Purgatorio--the purging of envy and wrath. Check out our 51 question and answer guide (35 pages!) to the Purgatorio. Check out our YOUTUBE page which has our episodes in playlists!Dr. Jessica Hooten Wilson joins Deacon Harrison Garlick to discuss Cantos 13–17, covering the terraces of envy (Canto 13) and wrath (Cantos 14–17), with a strong focus on the central discourses in the middle of the Comedy. In Canto 13, the envious have their eyelids sewn shut with iron wire, a contrapasso that forces them to rely on others and recognize interdependence. Wilson explains: “envy is to look cross-eyed on another's blessings... to look askance,” and the disembodied voices proclaim examples of generosity (Cana, “I am Orestes,” “Love them from whom you've suffered evil”), teaching a mindset of abundance over scarcity (Dr. Jessica Hooten Wilson). Sapia humbly confesses her envy and malice, contrasting with the divisive souls in Inferno.Cantos 14–15 transition to wrath, with visions of meekness (Mary and Joseph seeking Jesus, a tyrant sparing a youth, Stephen forgiving his stoners) and Virgil's discourse on goods: exhaustible earthly goods versus inexhaustible spiritual ones. Wilson notes: “envy stems from a mindset of scarcity versus Mary's mindset of abundance... able to supply where it looks like there's not enough in the world” (Dr. Jessica Hooten Wilson). The pivotal Canto 16 (the exact midpoint of the Comedy) features Marco Lombardo's sermon on free will: “If the present world has gone astray, the cause is in you, look at yourselves” (Marco via transcript). Wilson calls it “the clearest sermon that Dante has about what's wrong with the world,” emphasizing that sin arises from misused free will, not fate or stars, and critiques the separation of temporal and spiritual powers.Canto 17 concludes the wrath terrace with Virgil's discourse on love as the root of all action (“Neither Creator nor creature was ever without love... natural or of the mind” – Virgil via transcript), which can be misdirected, deficient, or excessive. Wilson highlights the shift from reason to grace: “reason can't do it alone... you need this other kind of intervention” (Dr. Jessica Hooten Wilson). The cantos underscore Purgatorio's hopeful pedagogy: purgation reorders love through grace, habituation, and contemplation, moving from misdirected to deficient love in preparation for the excessive attachments above. Wilson stresses the urgency: “the Purgatorio shows humanity in motion, dynamic humanity... it has the immediacy... that is an urgency to it” (Dr. Jessica Hooten Wilson).Chapters00:00 Introduction to the Great Books Podcast04:06 Exploring Dante's Purgatorio07:20 The Great Books Program at Pepperdine University10:18 The Significance of Purgatorio13:27 Understanding Envy in Purgatorio16:17 Contrary Virtues: Generosity and Kindness19:22 The Role of Sight and Blindness in Envy22:15 Dante's Moral Lessons on Envy25:14 Comparative Analysis with Inferno30:33 Dante's Poetic Structure and Contrapasso32:15 Comparative Analysis of Characters in Inferno and Purgatorio33:54 The Role of Good and Bad Examples in Moral Education34:14 The Shift from Temporal to Eternal Mindsets34:20 Understanding Canto 14: The Importance of Examples39:35 Canto 15: The Inquiry into Goods and Wrath49:58 Canto 16: The Purging of Wrath and Examples of Virtue51:35 Ecstatic Visions and Penitent Souls52:19 The Tyrant's Moment of Virtue53:28 Humanity in Purgatorio54:38 The Role of Mary in Purgatory56:02 Saint Stephen's Example of Forgiveness57:12 Virgil's Limitations as a Guide59:12 The Nature of Freedom in Purgatory01:03:07 The Importance of Canto 1601:04:37 Understanding Freedom in Dante's Context01:07:32 The Role of Law and Governance01:14:39 Self-Reflection and the State of the World01:23:48 Exploring Wrath in Purgatory01:30:57 Understanding the Structure of PurgatoryKeywords: Dante's Purgatorio, Cantos 13-17, spiritual growth, virtues and vices, education, great books, Dante analysis Dante's Divine Comedy, Purgatory, Virtues and Vices, Free Will, Theology, Morality, Literature, Catholic Teaching, Spiritual Journey

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.