Podcasts about canto iii

Many of my listeners look forward with eager anticipation to my annual April Fool's episodes, and today's packs a particularly powerful punch! A few months back my friend Thomas Bagwell, a perpetual friend of the podcast, told me he had a dub of a rare recording on Philips Records [sic] by the New York-based soprano Mari Lyn, well known as the Singing Hostess of the 1980s public access cable television program The Golden Treasury of Song. On the spurious LP she sings Verdi and Puccini arias accompanied (sort of) by her artistic collaborator Howard Salat (of the Local 802) leading the “Belgravia Philharmonia Symphonica Orchestra” [sic]. If any of you remember Ms. Lyn from my previous Alternate Universe Bel Canto episodes, you will know that she packs a vocal punch that can leave you reeling (and your ears ringing!) I actually convinced Thomas to get on the horn with me yesterday from Copenhagen and we recorded a spirited conversation in which we discuss everything from Easter bonnets to theater organs to cranky Unitarians to defective blenders to aging ingénues to Lee Press-On Nails to Oscar the Grouch to Queens, Europe to the power of parlando before we get down to the true business of the day: singing the praises of our alternate universe diva, Marilyn Sosman (known to vocal aficionados the world over as Mari Lyn), she of the indestructible vocal bands, lofty wigs, and life-affirming (and -altering) costume jewelry. This whimsical episode strips Mari Lyn of her wigs, gowns, and accountrements (in a figurative sense only) leaving her only with her most powerful asset: that legendary Sherman tank of a voice. Armed with that voice, she refashions some of the most popular arias of Verdi and Puccini, and, thanks to her imaginative use of the Italian language; her refusal to conform to the strait-jacket of the printed page; and her idiosyncratic use of pitch, rhythm, and vocal color; renders them unrecognizable in the process. Not only is the music transformed, but so are we, her fans, who listen on in horrified fascination at what she will think of next. Evviva Mari Lyn! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

durée : 00:59:34 - Matthieu Chazarenc - par : Alex Dutilh - « On dirait le Sud », chantait Nino Ferrer et c'est bien le sentiment qui domine à l'écoute de ce “Canto III” de Matthieu Chazarenc. Parution chez Bonsaï / Socadisc / Idol.

durée : 00:59:34 - Matthieu Chazarenc - par : Alex Dutilh - « On dirait le Sud », chantait Nino Ferrer et c'est bien le sentiment qui domine à l'écoute de ce “Canto III” de Matthieu Chazarenc. Parution chez Bonsaï / Socadisc / Idol.

Benvenuti nel nostro canale, amici di YouTube! Oggi siamo entusiasti di presentarvi il terzo atto epico della Divina Commedia di Dante Alighieri: il Purgatorio! Ma non temete, non saremo guide noiose e altezzose, bensì tre amici divertenti e un po' dissacranti che vi condurranno attraverso questo viaggio di penitenza e redenzione. Preparatevi a immergervi in un'avventura letteraria senza precedenti, mentre ci imbarcheremo in un viaggio nel mondo intermedio tra Inferno e Paradiso. Qui, le anime dei peccatori pentiti cercano la purificazione e l'assoluzione dai loro trascorsi peccaminosi, con la speranza di ascendere verso la beatitudine celestiale. Ma non abbiate timore, perché il nostro approccio sarà un mix di verità storica e momenti di leggera irriverenza. In fondo, il Purgatorio di Dante è così ricco di dettagli e simbolismi che ci sentiamo in dovere di intrattenerci a modo nostro, con qualche scherzetto lungo la strada! Esploreremo le molteplici cornici narrative, incontrando personaggi affascinanti, impareremo da episodi di vita vissuta e affronteremo i tormenti e le sfide delle diverse cornici dell'Antipurgatorio, del Purgatorio stesso e della vetta del monte del Paradiso Terrestre. Non mancheranno momenti esilaranti mentre ci scherniamo reciprocamente sulla nostra condizione umana e sulle bizze delle anime in penitenza! Tuttavia, ci prenderemo anche il tempo di apprezzare l'arte e la grandezza poetica di Dante, esplorando i temi eterni della redenzione, della fede e dell'amore, che rendono la Divina Commedia un capolavoro senza tempo. Siamo certi che vi divertirete, riderete e imparerete un sacco di curiosità sulla vita dell'epoca di Dante e sulle sue visioni del Purgatorio! Non vediamo l'ora di condividere questa avventura con voi, e se siete fan del nostro modo unico di raccontare le storie, assicuratevi di cliccare il pulsante "Iscriviti" e di attivare le notifiche! Ricordate, amici, che mentre viaggiamo tra le cornici dell'aldilà, l'importante è godersi il viaggio e trovare il giusto equilibrio tra il serio e il divertente! Allora, cosa state aspettando? Iniziamo questo entusiasmante viaggio nel Purgatorio di Dante Alighieri insieme! Ci vediamo sul nostro canale! se hai voglia di farti quattro risate con amici, parlare di attualità, ascoltare cicli interessanti, farci domande e passare un po di tempo in modo spensierato seguici. siamo anche su podcast seguici su https://www.youtube.com/@ioluielaltro www.ioluielaltro.it telegram https://t.me/ioluielaltro #ioluielaltro #umorismo #risate

Manfred continues his shocking speech, giving us the details of his body after his death--thereby continuing the theme of the body in PURGATORIO, Canto III; and thereby giving Dante the poet plenty of room for his imagination to run wild.Join me, Mark Scarbrough, as we learn what happened to Manfred's body after his death at the hands of the French forces at Benevento--and what can happen to Manfred's soul if the living get busy and focus on his trials at the bottom of Purgatory.Here are the segments of this episode of WALKING WITH DANTE:[01:46] My English translation of the passage: PURGATORIO, Canto III, lines 121 - 145. If you'd like to read along, print it off, or continue the conversation, please go to my website, markscarbrough.com.[04:04] Manfred is humbled and admits (vaguely) that the rumors about him may be true.[06:35] What is the "aspect" of God that the church leaders have misread?[08:31] What is the historical record of Manfred's death?[10:37] Why would Dante the poet make up so much of Manfred's story, particularly the story of his body after his death at the hands of the French forces at Benevento?[14:50] Why "thirtyfold"?[17:03] What is the role of the living in terms of the dead? Two answers to this question.[22:08] A structural look at PURGATORIO, Canto III.[25:10] Rereading the entire Manfred sequence: PURGATORIO, Canto III, lines 103 - 145.

Dante our pilgrim and his guide, Virgil, have come across a flock of sheep-like souls at the very bottom rung of Mount Purgatory. They've fallen in with them, going in front, when one of these humbled souls steps out and gives the first great monologue of PURGATORIO.Join me, Mark Scarbrough, as we encounter Manfred, the self-proclaimed King of Sicily and Emperor Frederick II's illegitimate son. This passage is strange and unexpected, about as strange for Dante's audience as the appearance of Cato was for us.We'll only cover the first "half" of Manfred's speech in this episode. Here are its segments:[02:22] My English translation of the passage: PURGATORIO, Canto III, lines 103 - 120. If you'd like to read along, print it off, or drop a comment to continue the conversation, please go to my website, markscarbrough.com.[04:14] Who is Manfred?[09:14] Who is the Empress Constance? And who is Manfred's daughter, mentioned in the passage?[10:50] The big surprise is that Manfred is not in hell![13:12] What is the pilgrim Dante's reaction to Manfred? Why would Manfred (dead in 1266 CE) expect Dante to recognize him?[17:27] Why does Manfred smile?[19:49] Why are Manfred's wounds still visible?[24:40] A structure analysis of the middle part of PURGATORIO, Canto III.

Dante and Virgil have come across a group of souls who are hanging back against the cliff's steep rise. They're like shepherd-less sheep--which may indeed be the secret to living a life of the "quia," the "what is”—yet also the heart of Virgil's despair.Join me, Mark Scarbrough, as we explore one of the most famous similes in PURGATORIO and find out how the pilgrim Dante and his guide navigate a new way to be: in congregation, reacting and moving, without truly knowing why.Here are the segments for this episode of WALKING WITH DANTE:[01:36] My English translation of the passage: PURGATORIO, Canto III, lines 79 - 102. If you'd like to read along, print it off to make notes, or drop a comment about this episode, please go to my website, markscarbrough.com.[03:29] A famous pastoral simile from PURGATORIO, a similie that shows us a humble flock without a distinct shepherd.[06:04] The flock lives in the "quia," the "what is," without a full understanding of the "why"--which is exactly the stance that Virgil exhorted humans to take and that left him in such despair earlier in Canto III.[10:41] Virgil seems to be trying out a similar spell to one he often used in INFERNO.[12:36] The flocks seems to accept Dante and Virgil as their leaders.[15:28] Rereading the passage: PURGATORIO, Canto III, lines 79 - 102.

In this episode from Purgatorio, Canto III, we might not see Virgil in his best light. He appears to frighten some souls on the bottom ledge. Then he overplays his hand with flattery. And he ends with a truly bizarre aphorism.Join me, Mark Scarbrough, as we look at some of the interpretive problems in this passage, then turn to think about how characters are built in medieval literature and how they are built in modern literature. The differences may help us get our heads around how strange Virgil's character is becoming in PURGATORIO. Here are the segments for this episode of WALKING WITH DANTE:[01:50] My English translation of PURGATORIO, Canto III, lines 67 - 78. If you'd like to read along, print it off, or even leave a comment about this episode, please go to my website, markscarbrough.com.[03:01] Why do the penitent souls hesitate, seemingly in fear, though perhaps just in doubt?[06:52] Virgil sets in with some (possibly overstated) flattery.[08:31] Virgil ends his flattery with a banal and almost incomprehensible aphorism.[12:02] Modern vs. medieval characters: the question of the necessity of a backstory.[15:20] Modern vs. medieval characters: the rhythms of ambient personality texture.[18:28] Modern vs. medieval characters: the importance of causality.[19:37] Medieval characters are built with allegorical intent.[22:44] Medieval characters are built through established "topoi" (that is, plot tropes, usually with a moral intent).[26:47] Rereading the entire sequence: PURGATORIO, Canto III, lines 46 - 78.

Virgil loses the way. Dante finds it. Virgil tries to figure it out. Dante uses the language of revelation. All to make sure Virgil can be the guide again, even when he's clueless about Purgatory.Join me, Mark Scarbrough, as we watch the irony deepen in this passage from PURGATORIO, Canto III. Dante the poet is playing a wicked game with his characters. And we have to walk slowly to see it.Here are the segments of this episode of WALKING WITH DANTE:[02:16] My English translation of the passage: PURGATORIO, Canto III, lines 46 -66. If you'd like to read along, print it off, or drop a comment about this episode, please go to my website, markscarbrough.com.[04:17] The pilgrim Dante and his guide, Virgil, have apparently been walking all along beside incredibly rough terrain--which seems to bring out Virgil's sarcastic streak.[06:55] The clear difference: Virgil looks down; Dante looks up.[07:41] Dante sees human souls on the left. Many commentators believe Virgil and Dante are still following a hellish (leftward) direction.[10:16] Dante uses the language of revelation (after Virgil's discussion of the limits of human reason).[12:05] Virgil gets back on familiar ground as the guide because of Dante's revelation. Who's really the guide here?

Dante the pilgrim has been shocked by his shadow, the only one against the rock. Is he alone? No, Virgil's there, still his comfort.Or is he? Virgil sets into an explanation for why bodies cast shadows, then gets lost in his own sorrow in one of the most astounding speeches in all of COMEDY.Join me, Mark Scarbrough, as we tease out the implications for Virgil's rich but very disconcerting reply.Here are the segments for this episode of WALKING WITH DANTE:[02:07] My English translation of the passage: PURGATORIO, Canto III, lines 22 - 45. If you'd like to read along, print it off, or leave a comment about this episode, please go to my website, markscarbrough.com.[04:52] The story of Virgil's death and burial--and thus, of his body, which he lacks.[07:43] Virgil's bitterness: I'm star stuff but damned; I've got divine reason but I can't figure out the workings of the universe.[12:57] Virgil's address to all of humanity: a final riddle that seems to negate the incarnation while also celebrating it at the same time.[19:00] The rhymes in this passage further develop our understanding of Virgil's character.[21:18] Can Virgil be a comfort for Dante?[25:06] Rereading the passage: PURGATORIO, Canto III, lines 22 - 45.

Virgil has scurried off, apparently ashamed or somehow guilty (the damned can be guilty?) because of Cato's reprimand.Now it's Dante's turn. As Virgil slows up, Dante first notices the giant mountain beside them--and then sees his own shadow and balks in fear.Join me, Mark Scarbrough, as I explore this implications of this dramatic and complicated passage in PURGATORIO, Canto III.Here are the segments of this episode of WALKING WITH DANTE:[01:23] My English translation of the passage: PURGATORIO, Canto III, lines 10 - 21. If you'd like to read along, print them off, or drop a comment, please go to my website, markscarbrough.com.[03:35] Virgil's frenzied pace reverses a moment in Limbo and echoes a moment in Inferno, Circle Seven, Ring Three: the running homosexuals.[06:34] Dante the pilgrim has had no moment when he have seen any shadows--until now.[08:32] Discovery leads to fear: the familiar emotional progression of COMEDY so far, and one that much now begin to change.[11:56] Dante's first great neologism (new word) in PURGATORIO: the mountain "unlakes itself."[14:20] Corporeality is a double-edged problem: the source of the soul's safety and the cause of its alienation.[19:38] Rereading our passages in PURGATORIO from the beginning of Canto III: lines 1 - 21.

Cato has given his stern reprimand and everyone has scattered for Mount Purgatory. Even Virgil. He's on the run, ashamed.But why should Virgil be ashamed? What's he done? And what would it matter if he did do something wrong?Join me, Mark Scarbrough, as we work through these complicated questions that COMEDY never fully answers. Dante the poet, instead, offers us emotional compensations for the logical flaws in his plot. Are those compensations enough?Here are the segments for this episode of WALKING WITH DANTE:[01:37] My English translation of the passage: PURGATORIO, Canto III, lines 1 - 9. If you'd like to read along, print it off, or drop a comment, please go to my website: markscarbrough.com.[03:02] The fiction and strategy of COMEDY is to pretend the poem has neither.[07:11] The divisions between the cantos in PURGATORIO become more permeable--and in some interesting ways both mute and foreground the pilgrim, Dante.[10:12] The pilgrim Dante's place in COMEDY is changing.[11:42] Why is Virgil so upset? How did he fail? What does it matter if he failed?[14:43] Dante the poet "fixes" the problem of Virgil's shame with a plea for compassion. Is that a true "fix"?

Reading of Sri Aurobindo's Savitri - Book V, Canto III, Satyavan and Savitri

We've come to the final revelation of INFERNO, to its climax: the vision of Satan himself, called "Dis" by Virgil (after his own king of the underworld in THE AENEID).The emperor of the kingdom of woe scares the lights out of the pilgrim--and out of the poet. Our final revelation may well be that the poet has gone as far as he can with his infernal poetics. Now he must find new words to express what's ahead.Here are the segments of this episode of WALKING WITH DANTE:[01:28] My English translation of the passage: INFERNO, Canto XXXIV, lines 1 - 27. If you'd like to read along, print it off, or drop a comment, please go to my website, markscarbrough.com.[04:31] Satan is at the center of the universe and at the farthest point from God.[07:39] You can never say, "The devil made me do it."[10:12] Virgil begins Canto XXXIV with an infernal twist on a Lenten Latin hymn.[12:33] Why hasn't Virgil been speaking in Latin all along?[13:34] What is Virgil doing with this Latin hymn? Is he praising his own king? Or is he making fun of Christ?[14:56] There are seven Latin words or phrases in INFERNO.[17:30] Satan is merely structure: an edifice.[19:19] The pilgrim and poet are starting to fuse in the face of the vision of Satan.[19:58] The damned are fully frozen in ice, a place of great silence.[20:49] Canto XXXIV has many resonances with the neutrals in Canto III.[22:12] The imagery of Satan is based on a Christian interpretation from a passage in the prophecies of Isaiah.[25:13] The pilgrim is frozen--thus in tune with the landscape and maybe with the damned as well.[26:48] What does "both dead and alive" mean? Four hypotheses.[32:21] Rereading the passage: INFERNO, Canto XXXIV, lines 1 - 27.

Hornets and the uncommitted. What it all means. You can find the Henry Francis Cary translation of The Inferno at Project Gutenberg. The vision of hell. by Dante Alighieri - Free Ebook (gutenberg.org) I have absolutely no affiliation with the Dante's History podcast, but it's an excellent source for continued education on the topic. https://open.spotify.com/show/55C43Ja7kSVnUNPHATq2CO?si=184963c328cc4c95 For more information about the not so wonderful world I've created, you can visit www.DDofDG.com You can contact me at DarkDaysOfDorothyGale@outlook.com You can tweet at me on Twitter (obviously) where the handle is @DarkDorothyG You can find me on Instagram (and TikTok) @TheOrdinarySun I'm not doing this to make money, and I'm not asking for any. But if for some reason you want to support this show you can by going to https://buymeacoffee.com/OrdinarySun... It's cool if you don't. Thanks for listening. I love you all. Music for Darker Days of Dorothy Gale, “The Darkness Remains” and “Darkness Undone”, was created, and performed by Mariano G. Romero. Additional mixing and sound design for “Darkness Undone” by Tyler Martinez.

This week: Canto III of Dante's Divine Comedy!

This is the third chapter of Dante's Divine Comedy, Inferno: Canto III. Thanks for giving it a listen and I hope you enjoy the reading.  If you would like to download the Ebook for free and follow along with  me (so you can see all the places I mess up!) you can find it on  Standard Ebooks at  https://standardebooks.org/ebooks/dante-alighieri/the-divine-comedy/henry-wadsworth-longfellow --- Support this podcast: https://anchor.fm/royaltyfreeaudiobooks/support

We have seen that Savitri refused Death's challenge to show him her strength and her freedom from his laws Now she refuses his statement that she will never again have Satyavan, and she challenges him in return. Savitri says; “If the eyes of Darkness can look straight at Truth, look in my heart and knowing what I am, give what thou wilt or what thou must, O Death. Nothing I claim but Satyavan alone.” Their debate has come to the central point. Savitri wants her Satyavan back and won't go away without him. Death will not give Satyavan back. He wants her to go away without him. Savitri refuses Death's promises of a better earthly life without Satyavan. She demands; “Give me back Satyavan, my only lord.” She begins to reveal who she really is by telling Death; “The great stars burn with my unceasing fire and life and death are both its fuel made…. There shall kiss, casting their veils before the marriage fire, the eternal bridegroom and eternal bride. Death's darkness lightens a little as they move on.

Savitri claims the living Satyavan for their work together on earth, their sacred charge. Their God-given task is to bring God's Light and Bliss and Love to earth for mankind. She tells Death that within herself she has already triumphed over his darkness. She reveals the roles that she and Satyavan will play by saying; “I. the woman am the force of God, He the Eternal's delegate soul in Man”. Death challenges Savitri to reveal her strength and to prove her freedom from his laws.

Savitri has explained that humanity cannot see God's Bliss, but it is everywhere. Earth was made for joy. Now she describes the joy that is the spirit of God in every aspect of man and his life. A time comes in man's evolution when his soul turns to eternal things, because this is man's true aim. It is the true work of Nature which began when this grand creation first rose out of the sleep of the inconscient. Man's heart thrills to the love of God and all is new-felt in God. Man lives in unity and all is known and all is clasped by Love.

Savitri has already explained to Death that man's consciousness is continually progressing to a greater and more complete manifestation of the Eternal consciousness of the Supreme. Now she tells Death that all the things he criticizes in man have been caused by his presence in man's world. She says that death and ignorance govern the mortal world because the Bliss that made the world has fallen asleep. Although God made the world for his delight, an ignorant Power took charge and seemed his will, and Death's deep falsity has mastered life. But a hidden Bliss is at the root of things. Earth was made for joy, not for sorrow.

Savitri explains to Death why we cannot understand and appreciate the marvels and mysteries of our life and our world. God has built a world of growth and progress for man's mind and man's life out of things that we do not see or do not recognize for what they really are. The gods that man worships are are false because they have been created by his own imagination and his interpreting mind. Man's knowledge is clouded, but the clouds disappear when Light emerges. It is all the work of the Supreme Shakti, the Mighty Mother. As we move towards God, a thousand aspects point back to the One. Light is there in our efforts. Man's mind can hold God's knowledge and the Ray of God's Light. A Spirit is uncovered within as man progresses on the roads to God.

Savitri never believed Death's claims that he was the true reality and that he created the universe. Now she replies to all of his false arguments and twisted facts, telling him, “Thou hast used words to shutter out the light and called in truth to vindicate a lie.” In this Canto, Savitri begins to express her own true understanding of how God's creation came to be, and how man is an evolving being. She says to Death, “How shall the child already be the man? Because he is infant shall he never grow? Because he is ignorant shall he never learn?” In this program we have the translations of Mother's experience of the “Supramental Ship” in 1958, and her experience of the new Being on 1 January, 1969. The original French tape recordings of these two experiences will play at the end of the program.

This is the day that Satyavan must die. Savitri goes with him into the forest, knowing that Death may come at any minute. She waits for Almighty Death to come to take her husband, waiting for the moment when she will begin the mighty work for which she was born. As Satyavan chops a tree branch, his doom comes upon him. Savitri holds him as life leaves his body. Then she grows aware that they are no longer alone. She knows that visible Death is standing there, and Satyavan has passed from her embrace.

Coming soon...

Guided by her higher being, her Jeevatman, Savitri has started the search for her soul so she can fulfill her destiny and conquer death. She has seen that her own inferior nature still takes too large a place in her being. It must be pushed aside to find her soul. She is told that she must find her heaven-born soul in matter's body. Savitri enters her inner being at the subconscient's gate and makes her way through the outermost levels of her subtle being, where there are only basic life energies, which are not governed by the ordering mind, and which are also not influenced by the presence of her soul. It is a difficult journey. Savitri has to be strong and focused, and concentrated.

Savitri remembers all that happens on this day of fate when Satyavan asks her to enter his life. She tells him that he is the soul her soul is seeking. She descends from her high car and they join their souls in their own deep, life-changing personal marriage. Sri Aurobindo's descriptions of their wedding and what happens in their embrace disclose ancient wisdom about the experience of marriage. He says that the wedding of the Eternal Lord and Spouse took place again on earth in human forms. Ancient Indian teachings say that this is the true relationship between married couples. The Supreme Unmanifest All manifested the creation by putting his own power out from himself. Marrriage is looked upon as the ongoing intimate union of these two great Powers who are the creation and its source, and the world is only their love and their giving and caring for each other. In the joining of Savitri and Satyavan, Sri Aurobindo says the natural miracle was wrought once more; in the immutable ideal world, one human moment was eternal made.

The two soul mates continue to learn their true relationship. Satyavan continues to tell Savitri about his life, growing up in the forest. He felt a covert touch of the Divine and heard a call. Because of his efforts he glimpsed the presence of the One in All, but there still lacked the last transcendent power. He knows that the final realization is to realize the Divine in his body, but he has not been able to do it. Now that Savitri comes he knows he will realize his goal.

Savitri has met her mate, Satyavan at the edge of a sunlit forest clearing. In their secret conscious selves they know the truth of their eternal union, but this awareness has not yet dawned in their surface consciousness. They begin to speak, and there has been so much love between them in so many past lives that Satyavan begins by asking Savitri to come home with him and tells her that it is a place of chanting nuptual waters, the waters of marriage. He starts to tell her about himself and his life growing up alone in the forest.

King Aswapati has been able to work on his own body with more light. The Supreme Self of Eternal Light has also been working in the King's darker parts and they are changing. The King's consciousness is becoming omniscient, all-knowing. The Divine Mother continues bringing him Light and transcendent wisdom, and he learns the truths which are still hidden from humanity at this stage of evolution. Now the King's vision lightens on the viewless heights, and he has illuminations of wisdom from the voiceless depths. A secret sense awakens in the King that can perceive a Presence and a greatness everywhere, and his life becomes a sure approach to God. His soul is released from ignorance. It is his mind and body's first spiritual change.

The mighty yearning that asks for a perfect life for earth and men again raised it flame. King Aswapathy hears a Voice from hidden skies, calling mankind to its greater destiny. The Voice speaks of man's failure to change. Then, Savitri comes like a shining answer from the gods. There comes the gift of a revealing hour, and with his inner sight, the king sees the great and unknown spirit born as his daughter. He speaks to her in sentences from unseen heights. The king tells Savitri that somewhere on earth waits her mate, the second self for which her nature asks. He tells her to depart where love and destiny call her charm, and his word is the seed of all things to be. The next morning the palace wakes to its own emptiness. Savitri has gone to search the spacious world for the love of her life.

The Traveller of the Worlds, King Aswapathy, has reached the Supramental world – the highest consciousness – the goal of all spiritual seeking. But he has not yet attained his personal goal of asking the Divine Mother to come and fix our problems here on the earth plane. The King saw that he was two beings; one being was the part of him that was wide and free, above the world in the Supramental plane; but the other one was his body, struggling and bound, on earth, in mystic sleep, unable to call the Mother. Only the King's heart was left to call Her. The King could see his living, sacrificed and offered heart, conscious and alone, far down below him, like a lamp in night. Extinction could not quench that lonely fire. Accepting bliss as the sole cause of things and refusing the austere joy which none can share, it turned to its far-off source of light and love, and waited for the Word of The Supreme. The introduction to this part of Savitri includes a history of how the King is changed from The Kingdoms and Godheads of The Greater Mind in Canto XI up to the Supermind, and how we will also change.

The King has the Supramental Consciousness. He lives in immeasurable and blissful unity. He experiences a new and marvelous creation, rising out of the Spirit, where all are joined by spiritual links and all are the One. Matter is density of Spirit and substance is a resonant harp of Self. All that passes here lives immortal there.

The Traveller is nearing his goal, but he still feels the resistance of his inconscient base and the ignorant No in the origin of things. Something in his earthly being keeps its kinship with the inconscient. He searches Nature's spaces in his being with heaven's pure cleansing flame and tears out desire. A mighty transformation comes and his nature becomes a movement of the All. The Traveller King stands fulfilled on the worlds highest line and all grows still. A Universal Force awaits the Transcendent's ultimate decree.

The great Yogi King continues to have the vision of Life, complete, eternal, blissful and immortal. She is fulfilled in all she is and does. But even with all of his yogic attainments, King Aswapathy cannot enter into Life's glory. His nature lives too near suffering worlds and he is still bound by his individual thoughts and the dimness of his vision. Then Sri Aurobindo describes Life's fall when she is called to enter into matter at the time of the crude beginnings of this mortal world when earth was built in the unconscious Void. Here, interned in matter, Life is changed. She is now doomed to feed death with her works. In the next canto the king will have to go deeper into all the worlds of being by traveling deeper into his own inner being.

Sri Aurobindo gives us life's full glory in worlds which are halfway to heaven, but tells us that heaven's joys cannot be earth's because earth is not pure and she has stabled her dreams in matter's courts. King Aswapathy continues to live these high experiences in vision. “Only to be was a supreme delight, life was a happy laughter of the soul and Joy was king with Love for minister.”

Answering a greater Nature's troubled call, King Aswapathy ascends out of the Kingdom of Subtle Matter into the next world on the World Stair. He crosses the limits of embodied mind and arrives in a place where Life is free to go everywhere, do everything and be everything. But Life is unsatisfied and unsure of its end here, and the king finds nothing to satisfy his heart. While he walks on uncertain ground, he sees the image of Life's happier state. This dream takes the shape of reality and his vision makes it all its own.

The gates of hell remind us of writing our dissertations. Other things of note: - We can't stop laughing. - We don't realise that these are the most famous lines of the poem. - We enter hell. - Charon smacks people's butts! - Probably the most boring episode so far.