Podcasts about Purgatorio

Dante the pilgrim and his rival/friend/fellow poet Forese Donati continue to talk about their concerns: suffering, placement on the mountain, and the role of the living in the service of the dead.Along the way, they seem to be coming closer and closer to the Christian idea of redemptive suffering, a complex stance in the face of the nihilism that almost overwhelms the suffering in INFERNO behind us.Join me, Mark Scarbrough, as we explore these problems, plus talk about Forese's wife, Nella, and the role of the vernacular in exploring and explaining the deepest truths.Here are the segments for this episode of WALKING WITH DANTE:[01:37] My English translation of the passage: PURGATORIO, Canto XXIII, Lines 76 - 90. If you'd like to read along or continue the conversation with me, please find the entry for the episode of the podcast on my website, markscarbrough.com.[03:17] The changing notion of suffering--yes, in COMEDY, but even in this small passage.[07:20] Accounting for time, souls, and their ascents on Mount Purgatory.[13:32] Nella Donati and two interpretive stances toward her place in the poem: 1) correcting the record or 2) hoping for a full record of a poet's works.[17:36] Vernacular language and its uncomfortable relationship with "higher" truths.[24:03] Rereading the passage: PURGATORIO, Canto XXIII, lines 76 - 90.

Benvenuti nel nostro canale, amici di YouTube! Oggi siamo entusiasti di presentarvi il terzo atto epico della Divina Commedia di Dante Alighieri: il Paradiso! 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 suhttps://www.youtube.com/@ioluielaltro www.ioluielaltro.it telegramhttps://t.me/ioluielaltro #ioluielaltro #umorismo #risate

Having met his poetic rival, Forese Donati, Dante the pilgrim must make sense of the clear and present pain he sees in friend's face.This passage is a curious example of felix culpa, the fortunate fall, in which suffering must be reinterpreted for the greater good. Except the pain doesn't stop being the pain. Suffering remains the central metaphysical question of the human condition, the experiential crux underneath our high-minded notions of ontology.Join me, Mark Scarbrough, as we work through this conversation between two poetic rivals on the sixth terrace of Mount Purgatory among the emaciated gluttons.Here are the segments for this episode of WALKING WITH DANTE:[01:42] My English translation of the passage: PURGATORIO, Canto XXIII, lines 49 - 75. 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.[04:08] Best friends, still perhaps vain, still perhaps rivals.[10:39] A power in the water and the tree--and an intense interpretive knot.[14:56] The problem of hunger and thirst among disembodied souls.[18:50] The interpretation of suffering as the crux of being human.[26:15] Rereading the passage: PURGATORIO, Canto XXIII, lines 49 - 75.

Dante now walks with the skeletal gluttons who have God's writing on their faces.Along the way, there are increasingly complex and almost gaming literary references that litter the text until Dante the pilgrim suddenly is recognized by a fellow, contemporary, vernacular poet who is not known for any high style but is instead a champion of a low, vulgar poetry in this hip, new form of the sonnet.Join me, Mark Scarbrough, as we look into the mirror of an increasingly complex meta reality in COMEDY as Dante the pilgrim meets his friend and rival Forese Donati on the sixth terrace of Mount Purgatory.Here are the segments for this episode of WALKING WITH DANTE:[01:22] My English translation of the passage: PURGATORIO, Canto XXIII, lines 28 - 48. If you'd like to read along or continue the conversation with me in the comment section at the bottom of the page, please find the entry for this episode on my website, markscarbrough.com.[03:23] Internal thoughts--less revelatory than just rehearsed--about the siege of Jerusalem in 70 CE.[09:27] The potential blasphemy of the pelican in her piety.[12:50] Three references to other texts in increasing opacity: from Dante's VITA NUOVA, from Ovid's METAMORPHOSES, and from Josephus' history (sort of).[15:30] Starved enough to see God's writing in the human face: a felix culpa?[21:31] A misplaced tercet in COMEDY?[22:52] Forese Donati and Dante v. Statius and Virgil.[31:18] Rereading the passage: PURGATORIO, Canto XXIII, lines 28 - 48.

Dante Alighieri (1265 - 1321)Translated by Bartolomé Mitre (1821 - 1906)La Divina Comedia (también conocida como La Comedia) es un poema teológico escrito por Dante Alighieri. Se desconoce la fecha exacta en que fue escrito aunque las opiniones más reconocidas aseguran que el Infierno pudo ser compuesto entre 1304 y 1307–1308, el Purgatorio de 1307–1308 a 1313–1314 y por último, el Paraíso de 1313–1314 a 1321 (fecha esta última, de la muerte de Dante). La primera parte narra el descenso del autor al Infierno, acompañado por el poeta latino Virgilio, autor de la Eneida, a quien Dante admiraba. Acompañado por su maestro y guía, describe los nueve círculos en los que son sometidos a castigo los condenados, según la gravedad de los pecados cometidos en vida. Dante encuentra en el Infierno a muchos personajes antiguos, pero también de su época, y cada uno de ellos narra su historia brevemente a cambio de que Dante prometa mantener vivo su recuerdo en el mundo; cada castigo se ajusta a la naturaleza de su falta y se repite eternamente. Es particularmente recordada la historia de Paolo y Francesca, amantes adúlteros que se conocieron al leer en el libro de Lanzarote los amores de la reina Ginebra y este caballero, que fue motivo de inspiración y homenaje por poetas románticos y contemporáneos, así como la historia del conde Ugolino da Pisa, el último viaje de Ulises, el tránsito por el bosque de los suicidas, la travesía del desierto donde llueve el fuego y la llanura de hielo de los traidores, estos últimos, considerados los peores pecadores entre todos. (Resúmen de Arturo)

Benvenuti nel nostro canale, amici di YouTube! Oggi siamo entusiasti di presentarvi il terzo atto epico della Divina Commedia di Dante Alighieri: il Paradiso! 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 suhttps://www.youtube.com/@ioluielaltro www.ioluielaltro.it telegramhttps://t.me/ioluielaltro #ioluielaltro #umorismo #risate

Our pilgrim must move beyond the mystical tree on the sixth terrace of Mount Purgatory. So he sets off behind Virgil and Statius, only to overtaken by a group of cadaverous, skeletal penitents, whose hollow eyes watch the pilgrim's slower journey.This passage is an interesting set of problems: low stylists which end up with Ovidian references, all tied up in the very real medieval problem of starvation.Join me, Mark Scarbrough, as we work through this passage of camaraderie, mentorship, and growing affection on the terrace of gluttony.Here are the segments for this episode of WALKING WITH DANTE:[01:13] My English translation of the passage: PURGATORIO, Canto XXIII, lines 1 - 27. If you'd like to read along or start a conversation with me and others about this passage, please find the entry for this episode on my website, markscarbrough.com.[03:19] Camaraderie and mentorship in a lower style with a final salvo at avarice.[11:34] A psalm fragment in Latin and a possible quibble about Virgil's character.[16:26] Pensive pilgrims, right out of the VITA NUOVA, Dante's earlier work.[20:05] Ovid's METAMORPHOSES as a source for hunger: cited thoroughly and then overwritten beyond its ending.[25:04] Rereading the passage: PURGATORIO, Canto XXIII, lines 1 - 27.

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This week on The New Mason Jar, Dr. Jason Baxter returns to the podcast to talk with Cindy and Dawn about Dante as part of a new series of Mothers Education Course episodes When Dr. Baxter was first introduced to Dante's Divine Comedy Why Dr. Baxter thinks Dante wrote this work in the form of epic poetry? How this translation is different than other modern English translations Does the language and mood of Inferno feel different from that in the Purgatorio? Why Jason chose the artwork he did for the covers of his translations Jason's encouragement for the busy homeschool mom in approaching Dante Hear more from Dr. Baxter in Cindy's summer discipleship which you can still register for here: Morning Time for Moms 2025 Summer Discipleship: Life Together You can also sign up for Jason's summer class at TheHouseofHumaneLetters.com To view the full show notes for this episode, including quotes and book links, please visit our website at https://thenewmasonjar.com/113. 

© Copyright. Estos audios están protegidos por las leyes de Derechos de Autor.Para permisos, contactarme en:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.semperfiat.com

Benvenuti nel nostro canale, amici di YouTube! Oggi siamo entusiasti di presentarvi il terzo atto epico della Divina Commedia di Dante Alighieri: il Paradiso! 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 suhttps://www.youtube.com/@ioluielaltro www.ioluielaltro.it telegramhttps://t.me/ioluielaltro #ioluielaltro #umorismo #risate

Virgil and Statius begin to trek around the sixth terrace of Mount Purgatory but are stopped by an upside-down tree . . . that causes more questions than it provides answers.A voice in the tree warns them off and offers examples of temperance, of moderate appetites, all of which are strange interpretations of Biblical stories that don't necessarily have to do with gluttony.Join me, Mark Scarbrough, as we look at some of the final misreadings and misinterpretations in PURGATORIO, Canto XXII. It's a wild end to one of the most profound cantos of the second canticle of COMEDY.If you'd like to help underwrite this podcast, either 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:[01:31] My English translation of the passage: PURGATORIO, Canto XXII, lines 130 - 145. If you'd like to read along or if you'd like to talk more about this passage or this episode, please find the entry for this episode on my website, markscarbrough.com.[04:02] The first temptation among the penances: ripe, tasty fruit.[05:41] Questions about this upside-down tree: how does it grow, what does the dripping liquid do for it, and what does it all mean?[11:47] This tree and the two trees in the Garden of Eden.[14:25] Three examplars against gluttony: the Virgin Mary, Roman women, and the prophet Daniel.[19:00] The classical age in the Christian age, with its precursor, John the Baptist (or perhaps Virgil).[25:03] Rereading the passage: PURGATORIO, Canto XXII, lines 130 - 145.

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.

Benvenuti nel nostro canale, amici di YouTube! Oggi siamo entusiasti di presentarvi il terzo atto epico della Divina Commedia di Dante Alighieri: il Paradiso! 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 suhttps://www.youtube.com/@ioluielaltro www.ioluielaltro.it telegramhttps://t.me/ioluielaltro #ioluielaltro #umorismo #risate

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.

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.

Benvenuti nel nostro canale, amici di YouTube! Oggi siamo entusiasti di presentarvi il terzo atto epico della Divina Commedia di Dante Alighieri: il Paradiso! 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 suhttps://www.youtube.com/@ioluielaltro www.ioluielaltro.it telegramhttps://t.me/ioluielaltro #ioluielaltro #umorismo #risate

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.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! "Todo sobre Las Almas en Pena" La Hora de Nuestr@s Fans - Programa nº85 -14/05/2025 ¿Hay Fenomenología de las Almas en Pena? ¿Por qué se caracterizan estas Almas? ¿Están vinculadas a un lugar? ¿Cuáles son sus diferencias con las Almas Errantes? ¿Cuáles son las causas por las que un Alma al desencarnar puede quedar como Alma en Pena? ¿Qué sucede en el caso de las personas que se suicidan? ¿Puede un difunto poseer el cuerpo de una persona? ¿Dónde vive el Alma en Pena su Purgatorio? Un Alma en Pena ¿es siempre un espectro, o puede ser un fantasma? Con interesantísimos Casos, D. Santiago nos comparte sus Conocimientos, sus Reflexiones y sus Experiencias con las Almas en Pena. Es de lo más apasionante, interesante, Misterioso, y en muchos casos sobrecogedor, que hayas escuchado. ¡No te lo puedes perder! ¡Te esperamos, queridísim@ Fans! Un fraternal abrazo. *Información Adicional: - Si te ha gustado este Programa pulsa el icono ME GUSTA, ya que de esta forma apoyas al Programa y, por tanto, a nuestro Canal en iVoox. - Si aún no te has suscrito a nuestro Canal puedes hacerlo gratuitamente pulsando el botón correspondiente. - Si aún no eres FAN, puedes hacerte Fan de este Canal clicando el botón azul 'APOYAR' en la portada de nuestro Canal y así poder disfrutar ya de todos nuestros Programas Exclusivos para nuestros Fans. En ellos encontrarás un alto contenido de Misterio y Humanidades, con información exclusiva, vivencias, casos impactantes, confidencias, opiniones y reflexiones de D. Santiago Vázquez que te apasionarán y no encontrarás en otro lugar, por 2,99 € al mes sin compromiso de continuidad al mes siguiente. Disfruta ya de todos estos Programas exclusivos haciéndote Mecenas o Fan del Canal. - ✌Bizum: 649 17 41 52 También puedes apoyar a este Canal para que siga produciendo Contenidos de alto interés mediante tu contribución a través de Bizum. ¡Muchas Gracias! * Nuestras REDES SOCIALES: Puedes seguir también la actividad profesional de D. Santiago Vázquez en: - Nuestro Canal de YouTube: MI PUNTO DE VISTA 🌐 Humanista D. Santiago Vázquez - Twitter: @svazquezgomariz (Santiago Vázquez) - Instagram: @santiagovazquezoficial (santiagovazquezoficial) - Facebook: Santiago Vázquez *E-mail del Programa: masalladelarealidad1994@gmail.com *CURSOS impartidos por D. Santiago Vázquez que PUEDES SEGUIR O REALIZAR: - D. Santiago Vázquez pone a tu disposición el "CURSO DE DEMONOLOGÍA Y ENIGMAS DEL MAL" explicado en profundidad en 10 vídeos muy pedagógicos de gran interés por tan sólo 100 €. Puedes ver el Tráiler del Curso en nuestro Canal de YouTube en: https://youtu.be/vKrxcfmSWRA - Si te interesa la Parapsicología, D. Santiago Vázquez pone a tu disposición su CURSO DE PARAPSICOLOGÍA explicado en profundidad en 8 vídeos muy completos, pedagógicos y de gran interés, por tan sólo 100 €. Puedes ver el Tráiler del Curso en nuestro Canal de YouTube en: https://youtu.be/t8mSx1N1f9A?list=TLPQMTgwNDIwMjJJApLFVK46bA Solicita Información de uno u otro Curso (o de ambos) sin compromiso alguno escribiéndonos un e-mail a: masalladelarealidad1994@gmail.com Te enviaremos toda la Información sobre el Curso solicitado (o de ambos) y tú decides libremente si lo quieres efectuar. Un afectuoso saludo para tod@s y muchas gracias por estar ahí, al otro lado. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

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.

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.

We have been a long time on the terrace of the avaricious (without knowing there's another sin punished there as well). We're ready to climb on up to the sixth terrace of Mount Purgatory with Virgil and Statius as the pilgrim Dante's guide.On this episode, sit back for a read-through of these three cantos.Join me, Mark Scarbrough, as I read a rough translation of PURGATORIO, Cantos XXII, XXIII, and XXIV, exploring the climb up from the fifth terrace, the discussions between Virgil and Statius, and the poetic-prophetic space that makes up the arboretum of the sixth terrace, the one with the gluttons.If you'd like to help underwrite the many costs of this podcast, you can make a one-time contribution or set up a very small monthly stipend by visiting this PayPal link right here.[01:33] A read-through of Cantos XXII, XXIII, and XXIV of PURGATORIO. No translation available--just sit back and listen. A closer, better translation lies ahead when we break down these cantos into their respective parts.

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.

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.

EN ESTE EPISODIO TE CONTARE LA ATERRADORA HISTORIA DE AQUELLAS ALMAS QUE NO PUEDEN DESCANSAR

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

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

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

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

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

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

The pilgrim has been attracted by one soul, calling out his examples of Mary, Fabricius, and Nicholas to counter his own sins of avarice.Dante steps closer and inquires who this soul is. He finds himself in front of Hugh Capet, the legendary (and historical) founder of the Capetian dynasty of French kings. Or at least a version of said Hugh Capet, since Dante the poet flubs the historicity of his penitent.Join me, Mark Scarbrough, as we explore this fascinating look at the second major figure on the fifth terrace of Mount Purgatory.If you'd like to help underwrite the fees associated with this unsupported podcast, whether with a one-time donation or a small on-going contribution, please visit this link at Paypal.Here are the segments for this episode of WALKING WITH DANTE:[01:50] My English translation of the passage: PURGATORIO, Canto XX, Lines 40 - 60. 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.[04:38] Hugh Capet in history.[10:46] Hugh Capet out of history and into COMEDY.[14:19] The highlights in the passage, plus a note about Hugh's prophetic voice.[25:04] The passage without its historical apparatus.[28:49] Dante's anti-French propaganda and his misunderstanding of power as a human motivation.[32:16] Rereading the passage: PURGATORIO, Canto XX, lines 40 - 60.

Dante has gone beyond Pope Adrian V but hasn't left the fifth terrace of Purgatory. He and Virgil pick their way among the many shades until the pilgrim hears one shade call out three examples that entice the pilgrim to find this penitent.Join me, Mark Scarbrough, as we work through this passage on the terrace of the avaricious that will eventually lead us to our surprising second greedy soul ahead.Here are the segments for this episode of WALKING WITH DANTE:[01:15] My English translation of the passage: PURGATORIO, Canto XX, lines 16 - 39. If you'd like to read along or continue the conversation with me about this passage, please find the entry for this episode on my website, markscarbrough.com.[03:15] Dante, the poor homeless man, stares at the greedy.[05:25] The exemplars for the avaricious are told in very few words.[07:04] The first exemplar for the avaricious: Mary and her poverty.[10:03] The second exemplar for the avaricious: Fabricius and his poverty.[12:26] The third exemplar for the avaricious: Saint Nicholas and his generosity.[16:18] Does Dante have a death wish?[22:10] Rereading the passge: PURGATORIO, Canto XX, lines 16 - 39.

Pope Adrian V has pushed the pilgrim Dante to move on . . . even though the pilgrim doesn't want to.He and Virgil pick their way through the crowded fifth terrace of Purgatory. The avaricious are so many that the poet has to step out and offer a prophetic denunciation among the wreckage.Join me, Mark Scarbrough, as we edge our way toward the second penitent on this crowded terrace of PURGATORIO.Here are the segments for this episode of WALKING WITH DANTE:[01:32] My English translation of the passage: PURGATORIO, Canto XX, Lines 1 - 15. If you'd like to read along or continue the conversation with me in the comments to this episode, please find it on my website, markscarbrough.com.[03:16] The advantange or problem with structure in PURGATORIO, Canto XX.[07:30] The pilgrim's weak will redirected.[09:57] The pilgrim's and Virgil's movement v. the immobile smelting of the penitents.[13:17] The poet-prophet's curse.[16:32] The poet-prophet's hope.[22:14] Rereading this passage: PURGATORIO, Canto XX, lines 1 - 15.

Pope Adrian V concludes his discourse on the fifth terrace of Mount Purgatory on a strangely lonely, alienated note. Perhaps this is what avarice does to a person. Or perhaps this is what exile has done to Dante.Join me, Mark Scarbrough, as we work through the end of PURGATORIO XIX and Pope Adrian's speech on the terrace of the avaricious. We end at a melacholy spot for one of the redeemed.Here are the segments of this episode of WALKING WITH DANTE:[01:39] My English translation of the passage: PURGATORIO, Canto XIX, lines 127 - 145. If you'd like to read along or continue the conversation with me, see the entry for this episode on my website, markscarbrough.com.[03:32] Informal "you" v. formal "you."[06:22] Two New Testament references: Apocalypse 19:9 - 10 and the Gospel of Matthew 22:23 - 30.[10:53] The mystery of what is purified as a new plotting strategy in COMEDY.[13:14] The sad loneliness at the end of Canto XIX.[15:31] INFERNO XIX v. PURGATORIO XIX.[18:09] Misreading PURGATORIO XIX as a plea for democracy.[19:29] Reading all of Pope Adrian V's discourse: PURGATORIO, Canto XIX, lines 91 - 145.

Pope Adrian V, bound hands and feet to the ground, sets out to answer the pilgrim Dante's second question: What's going on here?In doing so, the pope unwittingly gives one of the most misunderstood lines in PURGATORIO.Join me, Mark Scarbrough, as we explore more of this conversation with the first (and only) pope we meet on Mount Purgatory.Here are the segments for this episode of WALKING WITH DANTE:[01:52] My English translation of the passage: PURGATORIO, Canto XIX, lines 115 - 124. If you'd like to read along or continue the conversation with me, please find this episode on my website, markscarbrough.com.[03:43] Punishment v. purification . . . and their contrapasso.[06:33] The bitterness of the pain.[09:42] Bitterness and falconry.[12:53] The transformation of the soul . . . momentarily stopped.[14:06] The avaricious v. the envious.[16:17] Rereading the passage: PURGATORIO, Canto XIX, lines 115 - 126.

Dante the pilgrim has asked Virgil--at least with a look in the eyes--if he could speak to one of the avaricious penitents, lying face down on the ground.On Virgil's okay, the pilgrim walks up to Pope Adrian IV . . . or at least so Dante the poet thinks. Sources vary. And interpretations, too.Join me, Mark Scarbrough, as we work through the interpretive and historical knots we face on meeting our first pope since INFERNO.If you'd like to help cover the costs of this podcast, consider donating a lump sum or even a little bit each month using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:19] My English translation of the passage: PURGATORIO, Canto XIX, lines 91 - 114. If you'd like to read along or continue the conversation with me in the comments to this episode, please find it on my website, markscarbrough.com.[03:47] Two interpretive knots: what exactly you must ripen to return to God and why anyone would want to stop that ripening process.[08:13] Dante, an architectural poet, who gives his reader three structuring questions for this conversation.[09:31] Four possible interpretive answers to the line of Latin from the penitent.[14:28] The identity of the speaker's family: the Fieschi from east of Genoa.[17:00] The identity of the speaker himself: Ottobono de' Fieschi, aka Pope Adrian V (c.1215 - 1276 CE).[20:12] Dante's possible historical mistake: Pope Adrian IV or Pope Adrian V?[23:00] Punishment v. purification: a difficult balance in PURGATORIO.[26:43] Rereading the passage: PURGATORIO, Canto XIX, lines 91 - 114.

“The idea of analytic neutrality, which was more or less a cliche truth when I was training back in the 1980s, is clearly getting at something very important, which is that we mustn't try to pre-conceive where the patient's development is going to take him or her. But that doesn't mean that the development is not in a direction. Aristotle famously said that the human being is a ‘zoon politikon', a creature who belongs in a somewhat structured society. Healthy development is in that sort of direction as we become more integrated, as our ‘ghosts become more like ancestors', to use that famous metaphor. We become more aware of the reality of other people and their real as opposed to their fantasy importance in the ecosystem of which we are all part. And this makes possible the sort of ethical realization that Levinas was talking about. We recognize the reality of the other. We discover that we are interconnected. We are part of something that is hugely greater than ourselves and that goes beyond our knowing. But of course, that doesn't mean that we are not also selfish and unique selves. It's that we are under pressure, so to speak, from both quarters.”  Episode Description: We begin with David's description of Freud's view of religion as offering  "compellingly attractive" illusions in the face of the helplessness we face by life's and death's unpredictability. Alternatively, David suggests that religions provide 'objects', ie Gods, that are importantly allegorical and offer an ‘ethical seriousness' over time. We discuss the ability of these allegories to offer possibilities of 'transcendence' in a world that he sees as often limited to the material. He presents Levinas' view of the responsibility we all have when encountering "the face of the other" - a responsibility that is not chosen but "slipped into my consciousness like a thief." We consider the ethical differences between one's superego and one's conscience. We close with David sharing with us the vicissitudes of his early life that, as for us all, form a context for our later interests.     Our Guest: David Black studied philosophy and Eastern religions before training in London, first as a pastoral counsellor and later as a psychoanalyst. He is a Fellow of the British Psychoanalytical Society, now retired, who has written widely on psychoanalysis in relation to matters of ethics and religion. In 2006 he edited Psychoanalysis and Religion in the Twenty-first Century. He has published two collections of his own psychoanalytic papers, most recently Psychoanalysis and Ethics: the Necessity of Perspective. He is also a poet and translator, whose translation of Dante's Purgatorio was published in 2021 in the New York Review of Books Classics series. (It was later the winner of the annual American National Translation Award in Poetry.) Visit David Black's website at: https://www.dmblack.net.    Recommended Readings: Black, D.M. Psychoanalysis and Ethics: The Necessity of Perspective. (2024: Routledge New Library of Psychoanalysis.)   Chetrit-Vatine, V. Primal Seduction, Matricial Space, and Asymmetry in the Psychoanalytic Encounter. (2004: International Journal of Psychoanalysis, 85: 4.   Lear, J. Wisdom Won from Illness. (2017: Harvard University Press.)   Lemma, A. First Principles: Applied Ethics for Psychoanalytic Practice. (2023: Oxford University Press.)   Levinas, E. Ethics as First Philosophy. In The Levinas Reader, ed. Sean Hand. (1989: Blackwell Publishing.)   Loewald, H. Papers on Psychoanalysis. (1980: Yale University Press.)

Today's poem runs the gamut of Italian renaissance poetry, the Book of Common Prayer, and the depths and heights of the human soul. It opens with an allusion to the Italian poet Guido Cavalcanti, turns to the Purgatorio of Cavalcanti's great disciple, Dante, and draws in the Anglican penitential office and lectionary readings for Ash Wednesday, all while following Eliot's speaker through despair into hope. Happy reading. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Dante and Virgil now walk along the fifth terrace of Purgatory, looking at the souls who are face down, stuck to the ground, unable to move or turn over.One of them answers Virgil about the way up . . . and the pilgrim Dante wants to stop for a conversation.Join me, Mark Scarbrough, for a look at this transitional passage in PURGATORIO as we step up to meet the first of three souls on the fifth terrace of Mount Purgatory.Here are the segments for this episode of WALKING WITH DANTE:[01:31] My English translation of the passage: PURGATORIO, Canto XIX, lines 70 - 90. 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.[03:30] Falconry as a "transmutative art"--and the possible transmutations from classical poetry.[09:24] The problem of being stuck to the ground.[12:18] Our disorientation among the speakers' words.[14:37] Virgil's (new?) concepts of justice and hope.[17:18] A new understanding of how Purgatory works.[19:00] PURGATORIO XIX v. INFERNO XIX.[22:27] Rereading the passage: PURGATORIO, Canto XIX, lines 70 - 90.

We are reading the Inferno together! Dcn. Harrison Garlick is joined by Dr. Jeremy Holmes of Wyoming Catholic College to give an introduction to Dante's Inferno and discuss the first canto. Visit thegreatbookspodcast.com for more information.Reading Schedule for Lent 2025:Introduction & the Dark Woods1. Intro & Canto 1 (3.4.25) with Dr. Jeremy Holmes (Wyoming Catholic)Vestibule of Hell, Limbo & Lust2. Cantos 2-5 (3.11.25) with Dr. Jennifer Frey (TU) and Dr. Jessica Hooten Wilson (Pepperdine).Gluttony, Spendthrift/Hoarders, Wrathful/Acedia & Heretics3. Cantos 6-11 (3.18.25) with Dr. Jason Baxter of Benedictine College.Violence: Against Neighbor, Self & God4. Cantos 12-17 (3.25.25) with Fr. Thomas Esposito, O. Cist., of the University of Dallas.Simple Fraud: Pits 1-75. Cantos 18-25 (4.1.25) with Noah Tyler, CFO of CLT, and Gabriel Blanchard, Staff Writer for CLT.Simple Fraud: Pits 8-106. Cantos 26-31 (4.8.25) with Dr. Donald Prudlo (TU)Complex Fraud: The Traitors7. Cantos 32-34 (4.15.25) with Evan Amato.Questions from our Reader's Guide:What is the Divine Comedy by Dante Alighieri?The Divine Comedy (or the Comedy as Dante called it) tells the story of Dante the Pilgrim's penitential journey through hell, purgatory, and heaven in three volumes or canticles: Inferno, Purgatorio, and Paradiso. It is called a comedy in the classical sense of ending well, as opposed to tragedy which ends poorly. Dante the Poet masterfully weaves together Holy Scripture, Greco-Roman mythology, Aristotle, Roman history, St. Thomas Aquinas, and more to present the reader an excellent map of the human soul and its loves. “It is the Summa Theologiae in poetry,” says Dr. Prudlo, “and I think it's one of the greatest, greatest achievements, single achievements by a human being that's ever been attained.”What is the Inferno?The Inferno tells of Dante's pilgrimage through hell alongside his pagan guide, the Roman poet Virgil. The Inferno is less an eschatological treatise attempting to explain the actual geography of hell and more a moral tale on the reality of human desire and the soul. It not a mystical vision akin to St. John's Revelation or the ecstasies of St. Teresa of Avila. As such, Dante the Poet will place mythological characters in hell, like the three-headed dog Cerberus or the Roman god of the underworld, Pluto. The purpose is not literal but pedagogical. In a similar fashion, the placement of a soul in hell, like a Pope Nicholas III or Helen of Troy, is not a eschatological claim of who is actually in hell but a moral one. Everything in the Inferno is intended to instruct us in virtue and the proper rectitude of the soul.Why should we read Dante's Inferno?The Inferno is an invitation to examine your soul. Dante the Poet is a master of the soul and its loves. He tears away the acceptable veneer on human desire and exposes the ugly reality of sin and its transformative effect upon the human soul into something imploded and bestial. And Dante the Poet invites the reader to contemplate his or her soul and its loves within an ordered whole. As stated, the Divine Comedy is St. Thomas Aquinas' Summa Theologiae is poetic form, and Dante the Poet weaves together Holy Scripture, Aristotle, mythology, astronomy, and more into one intelligible cosmos. Reality is intelligible and holds lessons for our sanctification and salvation. We are invited to become...

Dante the pilgrim has had a "P" wiped off his forehead by the angel at the stairs. He's started his climb to the next terrace. All seems well, but he's still sad, bent over with worry, troubled about his dream.Virgil again comes to the rescue. He reinterprets the dream for the pilgrim (leaving us with quite a few questions!) and commands the pilgrim to direct his eyes up to the heavens, the ultimate lure to God.Join me, Mark Scarbrough, as we look at this passage that brings us to the cusp of the fifth circle of Mount Purgatory.If you'd like to consider making a contribution to keep this podcast afloat, even a small monthly donation, please visit this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:35] My English translation of the passage: PURGATORIO, Canto XIX, lines 52 - 69. If you'd like to read along or continue the conversation, please find this episode's listing on my website, markscarbrough.com.[03:23] Possible structural changes in the canto breaks in PURGATORIO.[05:51] Dante the pilgrim as the mourner.[07:02] The dream as a "new vision."[09:39] The question of what exactly is "above us."[12:22] The open interpretative space in Virgil's interpretation of Dante's dream.[17:00] Virgil's impatience, the workings of desire, and the rocky landscape of Purgatory.[20:02] The second major instance of falconry imagery in COMEDY.[22:31] The heavens as the ultimate lure.[25:10] Rereading this passage: PURGATORIO, Canto XIX, lines 52 - 69.

Las llamadas santas ánimas del purgatorio son espíritus que en algunas ocasiones se hacen presentes para ayudar a quien pida o les dé su apoyo en algún momento, sin duda, un vistazo diferente a las historias de terror que por lo generalmente compartimos por aquí. Hosted on Acast. See acast.com/privacy for more information.

Awakened from his dream by a foul odor, Dante the pilgrim finds himself fully out of tune with his surroundings: a bright new day on the mountain of Purgatory, beautiful sunshine at his back, and an angel whose feathers fan him on to the next terrace.He's even promised the curious "ladies of consolation" as a salve for his mourning.Join me, Mark Scarbrough, as we look at a difficult passage in PURGATORIO, the journey from the fourth terrace of sloth to the fifth terrace up the mountain ahead of us.Here are the segments for this episode of WALKING WITH DANTE:[01:45] My English translation of the passage: PURGATORIO, Canto XIX, lines 34 - 51. If you'd like to read along or continue the conversation, please find this particular episode on my website, markscarbrough.com.[02:59] The Bodleian manuscript's illustration of Dante's second dream in PURGATORIO.[04:23] Dante's disorientation and his possible guilt.[07:14] Virgil and Jesus in the garden of Gethsemane.[09:29] Disorientation in the passage: hope and despair.[11:28] More disorientation: an angel and the poet Dante in the tercet.[13:06] A return to the familiarity of the plot.[14:14] Four answers to the question of "who mourns?"[21:42] Those curious ladies of consolation.[26:12] Rereading the passage: PURGATORIO, Canto XIX, lines 34 - 51.

We've had two dreams in PURGATORIO, one at Canto IX and one at Canto XIX (although it actually started in the last line of Canto XVIII).Let's take a moment to compare and contrast these two dreams. What can they tell us about the changing nature of PURGATORIO, especially given my thesis that this is a poem in process, one in which the poet is learning how to write the poem as he moves forward?Here are the segments for this episode of WALKING WITH DANTE:[01:21] A reading of the first two dreams in PURGATORIO: Canto IX, lines 13 - 42; and Canto XIX, lines 1 - 13.[05:11] Both dreams occur near dawn, startle the pilgrim awake, and rob the pilgrim of his free will.[08:40] Both dreams are about (different versions) of the future.[12:14] Both dreams have problems about who saves the pilgrim: the terrifying eagle or Virgil?[14:20] Both dreams are full of classical imagery (with important differences in the placement of that imagery).[16:15] Both dreams have songs: the first, outside the dream; the second, inside it.[17:35] There are two characters in the first dream, four character in the second--allowing for a larger interpretive space in the second dream.

Here's the second episode on the pilgrim's second dream in PURGATORIO. Things get wilder after the ugly lady becomes beautiful under the pilgrim Dante's gaze.She begins to sing. She identifies herself as a siren. She mentions Ulysses (incorrectly?). Another lady appears and begs Virgil for help. And Virgil saves Dante (yet again).Join me, Mark Scarbrough, as we parse this passage about the workings of poetry and perhaps COMEDY as a whole.Here are the segments for this episode of WALKING WITH DANTE:[01:23] My English translation of the passage: PURGATORIO, Canto XIX, lines 16 - 33. If you'd like to read along or continue the conversation, please find the entry for this episode on my website: markscarbrough.com.[03:18] Questions about free will in the dream state.[05:27] Questions about singing (and therefore, about poetry).[07:03] Ulysses back in Purgatorio again![10:30] The siren's song and possible identification.[14:05] The holy, speedy lady.[15:15] Her possible identifications: Beatrice, Saint Lucy, the second lady in Dante's VITA NUOVA, a whore/virgin cliché, or the holy lady of Philosophy from Boethius's CONSOLATION OF PHILOSOPHY.[22:37] Virgil in and out of Dante's dream.[23:51] Medieval medical remedies for lust.[25:10] A grammatical problem in the passage.[28:39] Rereading the passage: PURGATORIO, Canto XIX, lines 16 - 33.

Our pilgrim has fallen asleep on the edge of the fourth terrace of Mount Purgatory. He's seen the racing slothful but night has gotten the better of him . . . so he begins to dream.That dream is all about desire and the male gaze. It's also about poetic space and dream space . . . and the porous nature between the two.Join me, Mark Scarbrough, as we start the first of two episodes on the second dream of PURGATORIO.Here are the segments for this episode of the podcast WALKING WITH DANTE:[01:54] My English translation of the passage: PURGATORIO, Canto XIX, Lines 1 - 15. If you'd like to read along or continue the conversation, please find this episode on my website, markscarbrough.com.[04:21] Cooling planets, fortune tellers, and the liminal space before dawn.[06:51] References to INFERNO XX and VII in this passage.[10:20] Canto XIX and the psalms of ascent.[12:46] Delaying tactics at the opening of Canto XIX.[15:07] Disgust and the "redemption" of gaze.[18:29] Disturbing gender politics.[19:50] Who gets to observe vs. who (or what) is observed.[21:59] The poetic space vs. the dream space (which are not really separate)[25:17] Rereading the passage: PURGATORIO, Canto XIX, lines 1 - 15.