Podcasts about Purgatorio

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

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

In the last episode, we talked through some of the "superficial" factors in the grand apocalyptic vision in Eden: its structure, some diction cues, even a few rifts or cracks in its flow.In this episode, let's turn to the much thornier issue of what it all means. A consensus has developed over the seven hundred years of commentary. That reading (or interpretation) now dominates the Anglo-American, rationalist outlooks on the vision.But might there be more? And might that reading be prone to mistakes or gaffes it cannot accommodate?Join me, Mark Scarbrough, for the second of two episodes on the complicated vision of the apocalypse that ends PURGATORIO, Canto XXXII.To support this work, consider underwriting its many fees with a one-time donation or a small monthly stipend. You can do so at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:38] Once again, my English translation of PURGATORIO, Canto XXXII, lines 109 - 160. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[05:28] The now-standard interpretation of the vision as a sweet of Christian church history up until Dante's day and the so-called "Avignon captivity" of the papacy.[13:10] Questions and problems that arise in the standard interpretation. These may show us that the vision is more layered than a rationalist interpretation would consider.[16:28] Two external sources that may impinge on this vision: the prophecy of Daniel 7:7 and the visionary writings of the Radical Franciscans.[19:27] My reading of the vision as the collapse of good governance following the departure of the proper balance of church and state.[21:47] Two final questions: 1) Does Dante cause the collapse of the vision? And 2) should the vision be interpreted in such a rational, one-for-one way?

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

Dante is now ready for the final apocalyptic vision of PURGATORIO . . . and in the last place we might expect it: in that bastion of innocence and purity, the Garden of Eden.In seven vignettes, Dante witnesses some chaotic and catastrophic collapse of the chariot and even one of the original trees of Eden.But all is not lost. Beatrice is on the scene. And Dante himself participates in this vision, seemingly instigating a new ending to what had become a disaster.Join me, Mark Scarbrough, for the first of two episodes on the grand apocalypse of Eden in PURGATORIO, Canto XXXII.To support this work, please consider a small monthly stipend or a one-time gift to help cover the many fees associated with this podcast. You can donate at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:37] My English translation of PURGATORIO, Canto XXXII, Lines 109 - 180. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[05:28] Thoughts on the almost surreal strangeness of the vision as it moves from the natural world to the monstrous.[08:59] The structure of the vision: seven vignettes--five in six-line segments; the first and last scenes, longer.[18:34] Echoes in the vision to other moments in COMEDY: eagles, a vixen, dragons, a prostitute, and giants.[23:12] Biblical echoes from the Apocalypse of St. John at the end of Dante's vision.[25:03] Two outside actors who enter the vision and fundamentally change it.

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

David and Adam are back in the groove for Lent. They open with a timely conversation about Pope Leo's call for priests to stop using AI to write homilies, and why that warning matters far beyond the pulpit. The guys explore how AI threatens the muscles of human creativity, the irreplaceable nature of human-to-human proclamation of the Gospel, and where men should draw their own lines before the technology draws them for you.Then it's deep dive time into Dante's Divine Comedy — specifically the Dantinian ordering of sin, love, and the moral life across the Inferno and Purgatorio. David and Adam unpack:Why lust is the first (mildest) circle of Hell — and why that's actually a message of hope, not a free passWhy fraud and treason sit at the bottom — and what it means to so disfigure your soul that evil looks like goodThe mirror structure of Purgatory — pride at the base, lust at the summit, and why the climb starts nowMisdirected love, deficient love, and excessive love — how Dante's ladder maps directly onto your daily examination of conscienceWhy Hell is isolation and Purgatory is communion — and what that says about Christian hopeAcedia (sloth) redefined — it's not laziness, it's spiritual sluggishness, and it may be the most dangerous sin of the comfortableCato's charge at the gate of Purgatory: Run. Don't wait a second.The guys also taste a rare bottle of Angel's Envy Rye finished in Anejo Tequila barrels (104 proof, surprisingly mellow), give a shout-out to their upcoming 10-year anniversary, and share a sneak peek at the Catholic Man Show Campout short film dropping soon on Patreon.Resources mentioned:The Divine Comedy by Dante AlighieriAscend the Great Books podcast with Deacon GarlickPatreon.com/TheCatholicManShowSelectInternationalTours.com

Las ÁNIMAS DEL PURGATORIO no siempre se manifiestan como un susurro… a veces llegan como una deuda.En este episodio de Extra Normal, reunimos relatos paranormales reales donde las almas en pena, el Ánima sola, y entidades muestran su lado más oscuro: pedir ayuda, mentir, perseguir… y cobrar promesas. ⚠️ ⚰️ Historias que escucharás hoy:1999: una maestra conoce a una mujer que “rezaba” por las ánimas del purgatorio… y al morir, ellas llegaron por ella.Un alma se acerca a una médium para encontrar a su “hija” y agradece la ayuda… pero mintió: no buscaba salvarla, buscaba llevarse el alma de una niña.Una mujer le pide al Ánima sola que “haga justicia” contra dos personas… pero rompe el trato y termina atormentada.Una casa comprada con maldición: el perro sufría por lo que veía. La médium tuvo que canalizar al perro para entender qué entidades habitaban ahí.Unas vacaciones en Oaxaca terminan en pesadilla: a la familia se le pegó el alma de un niño del departamento rentado.Una madre contacta a su hijo fallecido (se desvivió a los 12 años) y pregunta lo que nadie quiere escuchar: “¿ya me perdonaste?”

Adam Minihan and Dave Niles open this episode with a story about two broken-down vehicles, a newborn daughter named Mary, and a prayer over a dying engine that — Amen — actually worked. From there they settle in with some Basil Hayden bourbon and turn to a piece of Dante most people have never read: the Convivio, his unfinished philosophical treatise written during his exile from Florence.The main topic: wonder. What it is, why Dante considered it the most critical virtue to cultivate in adolescence, and what we lose when we crush it in our kids... often without realizing it.Dante divides life into four stages: adolescence (birth to 25), youth (25 to 45), old age (45 to 70), and extreme old age (70 and beyond). Each stage has its own virtues and tasks. But it's adolescence — the age of obedience, wonder, and ordering loves — that Dante treats with the most urgency. Because wonder, once crushed, is very hard to resurrect.Adam and Dave unpack why screens flatten the imagination, why GK Chesterton's wonder at green grass wasn't eccentricity but sanity, and why Dante's most devastating line about education still applies today: if you raise kids without wonder, you may make them competent... but not wise.Also in this episode: the connection between Dante and Aquinas, the KU Integrated Humanities Program and David Dean, a monk at Clear Creek who hadn't read his prior's book and why that was one of the wisest things Dave has ever seen, and the difference between knowledge and wisdom in the age of AI.Deacon Harrison Garlick's Ascend the Great Books podcast is working through the Purgatorio right now. If you're not following along, this episode is a good reason to start.This episode brought to you in partnership with Select International Tours — selectinternationaltours.com.Topics covered in this episode:Adam's van saga, a dying alternator, and what happens when you pray like Jeff CavinsDante's exile from Florence and why Pope Boniface VIII ended up in the eighth circle of hellThe four stages of life from the Convivio — adolescence, youth, old age, and extreme old age — and the virtues and tasks for eachWhy Dante places the pinnacle of life at age 33 (and why that's not a coincidence)Wonder vs. ignorance — Dante's distinction and why it matters for how we raise kidsScreens and the flattening of wonder — Dave's strong opinion, delivered with characteristic convictionGK Chesterton and the green grass"You cannot love that which you have never wondered at" — Dante's most profound parenting insightThe connection between leisure and wonder — why you can't have one without the otherWhy the goal is heaven, not HarvardReferenced in this episode:The Convivio (The Banquet) — Dante AlighieriThe Divine Comedy (Inferno, Purgatorio) — Dante AlighieriIris Exiled: A Synoptic History of Wonder — Dennis QuinnAscend the Great Books Podcast — Deacon Harrison GarlickDavid Dean — humanities professor, student of John Senior's program at KUJeff Cavins

Dante wakes back up from his unexpected sleep to find that the grand parade is heading off into the forest (or maybe the skies). He's in a panic that Beatrice has left, too, although the young woman of Eden comforts him and shows her now humble place under the renewed tree.Meanwhile, we readers are equally panicked . . . or at least de-centered, as we try to make sense of complicated similes and oblique symbolic meanings. COMEDY is getting more complex by the line. It's a game of interpretation we've been preparing to play since INFERNO, Canto I.Join me, Mark Scarbrough, as we look at the passage just before the giant apocalyptic vision of PURGATORIO, Canto XXXII.To underwrite the many fees for this work, consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:21] My English translation of PURGATORIO, Canto XXXII, Lines 70 - 108. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[04:53] Four (or maybe five) interwoven Biblical references in the opening twelve lines of this passage (or the opening four tercets).[13:25] The interweaving of textuality to de-center the reader by pushing meaning further into mystery.[15:52] Dante's awakening to panic and then obeisance.[19:43] The complex meaning of Beatrice's changed position under the tree.[25:10] Dante's Roman hopes for heaven.[26:47] A flourish of the medieval high rhetorical style at the end of the passage.[28:53] Writing as awakening and return.[31:23] Rereading this passage: PURGATORIO, Canto XXXII, lines 70 - 108.

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

The griffin pulls the chariot or cart up to the denuded tree--the "widowed" tree--and the tree regenerates into a color reminiscent of other moments in PURGATORIO. But which one exactly?We're descending into the murk of mystery with new songs that can't be defined, with allegories that are becoming increasingly opaque, and even with classical references that seem somehow out of place in the overall arch of the glorious parade.Join me, Mark Scarbrough, as we begin to approach the strange and incomprehensible mysteries that lie at the end of the second canticle of COMEDY.To support this work, consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:24] My English translation of PURGATORIO, Canto XXXII, Lines 49 - 69. If you'd like to read along or continue the conversation with me with a comment on this episode, please find its entry on my website, markscarbrough.com.[03:32] A correction perhaps: "Adam" may have been a murmured reassessment of the misogyny in the text.[04:55] The pole, the chariot, and the tree: complicated translation problems.[07:15] The pole as the cross or perhaps the ties of good human governance.[11:49] The changing seasons as the tree regenerates.[13:26] The ambiguous symbolism of purple.[15:41] The unknown new song, a further mystery in the passage.[18:48] A tense and perhaps off-pitch reference to Ovid.[22:27] A knock against representative art before the apocalyptic vision just ahead.[24:18] Rereading the text: PURGATORIO, Canto XXXII, lines 49 - 69.

The griffin rolls his chariot up to the foot of a denuded tree as Beatrice descends out of her ride. The symbolism (the allegories, in fact) become increasingly murky, difficult to parse, especially when the griffin says his one and only line in COMEDY.Dante's Garden of Eden is a place where the games of interpretation kick into high gear. Nothing is what it seems . . . yet what it is is a matter of much debate.Join me, Mark Scarbrough, as we work through this increasingly complex passage on our way to the final apocalyptic vision of PURGATORIO.To help support this work with a one-time donation or a very small on-going stipend, please consider using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:04] My English translation of PURGATORIO, Canto XXXII, Lines 28 - 48. 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.[03:04] Statius, both physically and thematically in the passage.[05:55] Adam and Eve, with notes toward the theological fall of mankind.[09:19] The stripped tree in the Garden of Eden . . . but which tree?[14:49] The griffin, becoming a more difficult allegory with his one and only line in COMEDY.[21:06] Beatrice and her (complex) descent from the chariot/cart.[25:57] Rereading the passage: PURGATORIO, Canto XXXII, lines 28 - 48.

Today on Ascend: The Great Books Podcast, Deacon Garlick and Mr. Luke Heintschel, headmaster of Coeur du Christ Academy, discuss the rest of ante-purgatory and then the first terrace--the purging of pride.Check out our GUIDE: 51 QUESTIONS ON THE PURGATORIO.Visit thegreatbookspodcast.com for more information.The conversation explores the transition from Ante-Purgatory into the proper mountain of Purgatory and the first terrace dedicated to purging the sin of pride. Garlick describes this section as one of his favorites in the entire Purgatorio, praising Dante's ability to provide a rich “liturgy” and spiritual library of resources for reshaping the soul into the beautiful image of Christ. The episode emphasizes Purgatorio as a positive map for sanctification and theosis, contrasting sharply with the Inferno's exposure of sin's ugliness.Guest Introduction and Classical Education InsightsLuke Heintschel shares his personal journey from evangelization and biblical theology into classical education, explaining how he came to see the liberal arts tradition—long cultivated by the Church—as the most effective means of making Catholicism relevant to contemporary young people. He describes his school's mission of forming saints, scholars, and servants through the historic Catholic educational model. Deacon and Heintschel discuss the harmony of faith and reason, noting how reading great books alongside Scripture and theology reveals that the God who grants intellect is the same God who died on the cross. They highlight the value of using Dante's Purgatorio in moral theology classes, where it serves not as a list of rules but as a vivid portrayal of transforming the heart's disordered loves toward their divine end.Chapters00:00 Introduction to Ascend and Dante's Purgatorio09:02 Understanding Purgatorio: A Map for Spiritual Growth15:17 Dante's Intercessory Prayer and Its Significance24:13 The Role of Beatrice and the Nature of Beauty34:53 Dante's Political Critique and the State of Italy43:05 The Call to Higher Patriotism53:44 Understanding Virtue: Natural vs. Theological59:35 The Valley of the Kings: Political Failures and Redemption01:15:02 Dante's Heroism and Divine Grace01:19:41 The Three Steps to Purification01:28:10 The Role of Humility in Purgatory01:51:27 The Purpose of Purification01:59:24 Contrappasso: The Nature of Punishment in Purgatory02:04:44 Examples of Pride: Lessons from the Past02:16:26 The Beatitudes and the Path to Humility02:23:47 Eagerness to Ascend: The Transformation of the SoulMoral Theology and the Purpose of PurgatorioThe hosts stress that moral theology is not merely about avoiding sin but about becoming beautiful like Christ through active configuration to His image. Purgatorio offers a lifelong guide for this ascent, presenting prayers, hymns, scriptural examples, and artistic visions tailored to remedy each vice. They critique modern reductions of ethics to a “negative list” of prohibitions, arguing that Dante invites readers to pursue positive virtue and interior change.In Canto 6, the souls in Ante-Purgatory eagerly seek Dante's prayers, illustrating the Catholic doctrine of intercession for the dead as a participation in Christ's merits. Virgil explains that purgation is possible through the resurrection, and the episode includes a brief catechesis on the communion of saints across the Church Militant, Penitent, and Triumphant. Beatrice is presented as an icon of divine beauty and grace, with the...

Face to face with Beatrice, the pilgrim Dante is ready for more revelation. Problem is, even after Lethe he's still doing things wrong and must be corrected by the women around the griffin's chariot.But what is he doing wrong? And why does the entire parade of revelation go into retreat? What indeed does that griffin symbolize? And how did we get from the intensely personal experience of Dante's confession and contrition to this much more global view of the allegories on the march?Join me, Mark Scarbrough, as we begin to walk slowly through one of the most complex cantos (and certainly the longest canto) in all of COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:17] My English translation of PURGATORIO, Canto XXXII, Lines 1 - 27. If you'd like to read along or continue the conversation with me about this canto, please find the entry for this podcast episode on my website, markscarbrough.com.[03:31] A brief introduction to PURGATORIO, Canto XXXII.[05:19] Notes for the first nine lines (or three tercets) of the canto.[10:40] Dante's forgotten failings and Beatrice's on-going attraction.[12:04] Dante's intense gaze . . . but for or at what?[16:23] Beatrice and the problem of the "lesser thing" of revelation.[21:28] The parade of revelation (or of the church militant) in retreat with its "precious cargo."[25:01] The griffin's feathers, which prompt further questions about the griffin's allegorical meaning.[28:08] Bridging the personal and the universal.[31:04] Rereading the passage: PURGATORIO, Canto XXXII, lines 1- 27.

As we've done across the second canticle of Dante's masterpiece, COMEDY, we're taking some time to read through the final two cantos of PURGATORIO, XXXII and XXXIII.I'll read my rough English translation of the cantos. I'll finesse these more when we take the cantos apart passage by passage.For now, just sit back and listen to the narrative sweep of the final two cantos of PURGATORIO, truly the climax of the canticle.[01:43] A read-through of my loose translation of PURGATORIO, Cantos XXXII and XXIII.

Today on Ascend: The Great Books Podcast, Dcn. Harrison Garlick and Dr. Donald Prudlo, the Warren Chair of Catholic Studies at the University of Tulsa, discuss the Ante-Purgatory, the foot of Mount Purgatory (Cantos 1-5).Check out our guide on Dante's Purgatorio (out soon!)Visit Dr. Jason Baxter's website and use "Ascend" in the promo code for 20% off his Purgatorio audiobook.Thanks for the Center for Beauty and Culture at Benedictine College for their support!The conversation with Dr. Prudlo and Deacon Garlick on Cantos 1–5 of Purgatorio opens with the dramatic shift from the despair of Inferno to the hope and refreshment of Purgatory.In Canto 1, Dante and Virgil emerge from Hell onto the shores of Mount Purgatory at Easter dawn, where Dante humbly invokes Calliope, the Muse of epic poetry, signaling his project as “the Christian epic” (Dr. Donald Prudlo). They meet Cato the Younger, a pagan suicide saved by special grace, who embodies the four cardinal virtues and serves as Purgatory's guardian. Prudlo emphasizes the shock: “Cato the pagan, the suicide is going to heaven. And we have got to confront that or we're going to miss so much of what Dante has to tell us here” (Dr. Donald Prudlo). The ritual of washing with dew and girding with the humble reed contrasts the broken plants of the suicides in Hell and symbolizes the beginning of true humility and ascent.Cantos 2–5 introduce the late-repentant souls and the mountain's structure. In Canto 2, an angelic boat ferries souls singing “In exitu Israel de Aegypto,” a psalm of liberation that Prudlo calls “a multifaceted song” evoking Exodus, baptism, and community (Dr. Donald Prudlo). Casella's song of Dante's own poetry enchants the group until Cato rebukes their idleness.Cantos 3–5 explore excommunicated sinners like Manfred (“even under a curse like mine, no one's ever so lost that eternal love cannot come back, as long as hope has any sprouts of green” – Manfred via transcript) and the slothful Belacqua, who banters with Dante like old friends. Prudlo highlights the power of last-minute mercy and intercession: “Mary is the last refuge of sinners” (Dr. Donald Prudlo). The cantos teach that Purgatory is a place of communal hope, where grace reaches even the unlikely, and purification begins with humility, prayer, and rightly ordered love—setting the stage for the active ascent through the terraces.Chapters00:00 Introduction to Dante's Purgatorio04:42 The Importance of Reading Purgatorio08:02 Themes of Emancipation and Freedom10:57 The Role of Cato in Purgatorio13:49 Cato's Significance and Political Implications17:00 Cato as a Precursor to Christ19:51 Dante's Literary Techniques and Inspirations22:56 Contrasting Ulysses and Dante25:36 Cato's Death and Its Symbolism28:52 The Nature of Purgatory and Salvation31:51 Cato's Virtues and Their Relevance34:49 The Relationship Between Cato and Christ37:48 Conclusion and Reflections on Purgatorio50:03 Understanding Cato's Role in Purgatorio52:43 The Heartbreaking Choice of Cato54:39 Rituals and Purification in Purgatory01:00:18 The Arrival at Purgatory01:06:34 The Significance of Water in Salvation01:12:09 Virgil's Role and the Nature of Guidance01:24:57 Manfred: A Case of Late Repentance01:29:38 The Role of Intercessory Prayer in Purgatory01:34:00 Understanding Mount Purgatory and Its Significance01:40:15 The Character of Belacqua and Themes...

We finally come to the face-to-face meeting of Beatrice and Dante. We've waited for this moment since INFERNO, Canto II, when Beatrice first stepped into COMEDY.Neither Dante nor Beatrice speak at their close meeting. Instead, the women around the chariot beg Beatrice to reveal her second, hidden beauty: her mouth.Join me, Mark Scarbrough, as we explore the complex symbolism in this passage. We'll also take on its textual difficulties: a Biblical allusion that has been muddled in commentary, a lost word that's hard to translate, and a question of quotation marks in a medieval manuscript.To support this work, consider a one-time donation or a small monthly stipend by using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:26] My English translation of PURGATORIO, Canto XXXI, lines 127 - 145. 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.[03:11] Textual problems in the first six lines (XXXI: 127 - 132)--a muddled Biblical reference, a moral question of virtues, and a word that's hard to translate.[07:49] Beatrice's turning and the coming revelation of her mouth.[10:57] A difficult conclusion to Canto XXXI: Who says these complicated lines that use the informal "you"?[16:59] Forgetting and remembering your former works to create something new.[23:10] Rereading the passage: PURGATORIO, Canto XXXI, lines 127 - 145.

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Dante has now crossed Lethe and is ready to face Beatrice head on. She has moved to get ready for this eye-to-eye conversation. She's positioned nearer the griffin, a complicated symbol that may have more than one interpretation.Join me, Mark Scarbrough, as we explore both Beatrice (particularly her emerald eyes) and this dual-natured beast that seems to become more difficult to interpret with its every move in the poem.To support this podcast, consider a one-time donation or a small monthly stipend through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:19] My English translation of PURGATORIO, Canto XXXI, Lines 112 - 126. 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.[02:44] Beatrice has moved . . . but where?[05:09] With her emerald eyes, Beatrice and Dante finally escape the Francesca episode.[09:15] Dante is the Orpheus who can look into the eyes of his Eurydice.[10:49] Here are at least two additional interpretations for the griffin.[13:58] Beatrice's eyes are the methodology of revelation (and mystery).[16:41] The passage drops the first hint about Jesus' transfiguration.[18:50] Reflection is transfiguring, as in the craft of poetry.[19:34] Rereading the passage: PURGATORIO, Canto XXXI, lines 112 - 126.

Today on Ascend: The Great Books Podcast, Dr. Jason Baxter and Dcn. Harrison Garlick come together to introduce Dante's Purgatorio and Dr. Baxter's new translation!We are reading Dante's Purgatorio for Lent. Join us!Visit thegreatbookspodcast.com for our reading schedule!Check out our LIBRARY of written guides to the great books!DISCOUNT: Check out Dr. Jason Baxter's website and enter "Ascend" to receive **20%** off the Purgatorio audiobook read by Dr. Baxter!Check out Dr. Baxter's Substack article on his new translation.And thank you to the Center of Beauty and Culture at Benedictine College for promoting this reading of the Purgatorio!Dr. Baxter first describes the Center for Beauty and Culture at Benedictine College as a fellowship program (Angelico Fellows) that immerses students in beauty across the arts, music, literature, and theology—through concerts, museums, and pilgrimages—to foster interiority and the conviction that “beauty can save the world.”The conversation then contrasts Purgatorio with the Inferno: while the latter is dark, lurid, and focused on judgment, Purgatorio is a place of hope, mercy, transformation, and “eternal New Year's resolutions,” where repentant souls engage in spiritual exercises to purify their tarnished mirrors, learn authentic love and prayer, and prepare for Paradise. Baxter likens the shift to moving from heavy metal to Schubert, emphasizing greenness, brightness, and unexpected mercy.Baxter explains that his translation began as a personal quest for mastery—going word-by-word to internalize Dante like memorizing a piano piece—but evolved into a philosophy capturing Dante's “fugue” of style: ascending, prolix syntax with lofty classical allusions layered over humble, earthy words that reflect Franciscan humility and incarnational Christian poetics. Examples include goats ruminating on the “foco d'amore” (fire of love) amid elevated star imagery, or Statius calling Virgil's Aeneid “una mamma” (translated “mommy”).He describes Purgatorio as spiritual surgery—painfully removing the soul's “carcinogenic” elements through grace-filled cooperation—and a map for configuring to Christ beyond mere sin avoidance. Baxter advises first-time readers to pause at puzzling images or word choices, ask “why would Dante do that here?,” trust their instincts, and consider his audiobook for the text's soundscape, while Deacon Garlick stresses the canticle's role as a spiritual guide that mirrors one's own maturation toward God.Chapters00:00 Introduction to Ascend and Dante's Purgatorio03:43 The Center for Beauty and Culture05:40 Understanding Dante's Purgatorio07:54 The Nature of Purgatorio14:54 Dante the Pilgrim vs. Dante the Poet19:32 The Spirituality of Translation20:14 The Philosophy of Translation30:02 Dante's Christian Poetics34:22 Exploring Dante's Poetic Style36:51 Juxtaposition in Dante's Imagery41:42 The Concept of Spiritual Surgery44:49 The Journey of Holiness48:13 The Role of...

Dante wakes up in the arms of the young woman who first welcomed him to the Garden of Eden. She's dragging him through Lethe before she forcefully pushes him underwater.This scene is deeply symbolic and allegorical . . . although it raises many more questions than it answers. In fact, it seems to want to leave many things open-ended, a cue that Dante wants us in the poem, working on solutions to the many puzzles he has set.Join me, Mark Scarbrough, as we see the pilgrim Dante cleansed and ready to dance with the seven virtues around Beatrice's chariot.To support this work, consider a one-time donation or a small monthly stipend. You can make either contribution at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:29] My English translation of PURGATORIO, Canto XXXI, Lines 91 - 111. 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.[03:43] Two notes on the first nine lines: the heart and the shuttle.[06:33] Is this a baptism?[09:46] Three questions that surround the Latin line from the Psalms.[13:43] Why is the dunking so forceful?[15:45] What sign do the four women make over Dante?[17:41] The seven women fill in the details from PURGATORIO, Cantos I and VIII.[19:56] The four women are linked to the classical world; the three women, to the contemplative life.[22:43] Does everything happen to Statius, too? And to other penitent souls?[26:23] How do you express the inexpressible?[28:28] Must our poet forget the CONVIVIO in Lethe?[29:39] Rereading the passage: PURGATORIO, Canto XXXI, lines 91 - 111.

Dante In this episode of the Brief Talk Podcast, UNB Tim sits down with Paul, founder and designer of the upcoming luxury underwear brand Dante Seven. What starts as a conversation about launching a new brand quickly turns into a deep dive into art, literature, religion, shame, sexuality, and the power of storytelling in men's underwear. Paul shares his journey from corporate digital marketing into fashion, how working behind the scenes for a major underwear brand pushed him toward creating something of his own, and why he felt compelled to design a brand that speaks to older men, diverse bodies, and lived experience—rather than chasing trends or OnlyFans aesthetics. Inspired by Dante's Inferno, sculpture, religious iconography, and the Seven Deadly Sins, Dante Seven is built as a fully immersive, premium experience. Paul walks through the philosophy behind the brand's three launch collections—Inferno, Purgatorio, and Paradiso—the creation of the Gabriel Collection, and how sins are reimagined as affirming, empowering traits rather than sources of shame. The conversation also explores community building, chosen family, transparency in manufacturing, and why storytelling matters more than hype. Paul opens up about his background, his motivation for creating a Founder's Circle, and his vision for underwear as art, identity, and connection. This episode is a must-listen for anyone interested in underwear culture, independent brands, creative risk-taking, and building something meaningful in a crowded space. Topics Covered • From corporate marketing to launching an underwear brand • Creative burnout and choosing a new path • Why Dante's Inferno inspired Dante Seven • The Seven Deadly Sins as empowerment, not shame • Using religion and iconography to challenge norms • Luxury branding vs. price-driven underwear • Designing for older men and real bodies • Founder's Circle and community-first branding • Transparency in production and pre-order launches • Fetish, subtle sexuality, and cinematic storytelling • Why underwear culture thrives on connection Guest Links • Website: https://www.dante7.com • Instagram: https://www.instagram.com/dante7underwear ⸻ Support UNB • For ongoing support join our Patreon – www.patreon.com/unbblog (You can now join for free) • For one-time support visit our support page – https://www.underwearnewsbriefs.com/about/support-unb/ (Donate via Ko-fi or PayPal) • Or buy from the UNB Store – www.unbstore.com • Gift us something from our wish list – https://www.amazon.com/hz/wishlist/ls/KCJXCDDPU0LI?ref_=wl_share • Buy Amoresy – https://amoresy.com/UNBTIM • Buy BodyAware – https://bodyaware.com?bg_ref=7FgHF6QR1x • Buy Xdress – https://xdress.com?bg_ref=cG6ohBdgUO • Buy Real Men – https://www.rmac.store/TIM77812 Find Out More • Read more at unbblog.com • Follow UNB on • Twitter – https://www.twitter.com/unbblog • Instagram – https://www.instagram.com/unbblog • Reddit – https://www.reddit.com/r/unbstoreandblog/ Follow Tim • Twitter – https://www.twitter.com/unbtim • Instagram – https://www.instagram.com/unbtim • Facebook – https://www.facebook.com/unbtim • BlueSky – https://bsky.app/profile/unbtim.bsky.social • Spandex Party – https://spandexparty.com/unbtim Send feedback or questions to feedback@brieftalkpodcast.com

Beatrice has finished her case against the pilgim Dante. All that's left is for him to find his way beyond confession and into confession . . . which he does with a major crack-up that leads him to faint for the third time in COMEDY.Before he collapses, the poem begins a series of inversions or reversals that both increase the ironic valences of the passage and give its reader an almost vertigo-inducing sense of Dante's emotional landscape.A difficult passage in the Garden of Eden, here Beatrice accomplishes what she came for. Join me, Mark Scarbrough, as we explore the slow build-up to the final moment of contrition . . . which mimics the moment when Dante gives way in front of Francesca, back in INFERNO's circle of lust.Here are the segments for this episode of WALKING WITH DANTE:[01:20] My English translation of PURGATORIO, Canto XXXI, Lines 64 - 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.[04:15] Dante, from boy to man.[07:26] Recognition, the key to the passage, to contrition, and a possible node of irony.[10:38] The "unbearded" oak and the final crack-up.[13:49] Iarbas and Dido v. Dante and the new Dido.[16:28] Beatrice's venom.[17:27] Dante's beard.[20:00] The angels' departure?[21:16] The meaning of the beast's two natures.[23:53] Glossing the end of the passage: lines 82 - 90.[27:57] Francesca and her physical seduction v. Beatrice and her physical-theological seduction.[33:01] Rereading the passage: PURGATORIO, Canto XXXI, lines 64 - 90.

Beatrice continues to lead Dante toward contrition, pointing out both the purposes of her body (or corpse) and the ways he has failed to followed her lofty beauty.She finishes her second salvo at the pilgrim with a rhetorical flourish, showing the reader (and Dante) that she is a master of rhetoric, someone who commands a high, elevated style of poetry--that is, a fusion of the literal and the metaphoric that will become increasingly necessary to describe the PARADISO experience.Join me, Mark Scarbrough, as we look at the conclusion of Beatrice's second run at the pilgrim Dante and find the ways that she is directing both him and his poetry.To support the work of this podcast with a small monthly stipend or a one-time gift, please visit this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:09] My English translation of PURGATORIO, Canto XXXI, Lines 49 - 63. 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.[03:19] Glossing the full passage: "beauty" three times, high rhetorical style, low vulgar vocabulary, and an aphoristic ending.[13:15] Rereading Beatrice's second salvo at Dante: PURGATORIO, Canto XXXI, lines 22 - 63.[15:22] The uneasy but crucial balance between allegorical/metaphorical language and literal/realistic language.[18:57] Beatrice: negative space made flesh.[23:38] Renegotiating COMEDY v. intending these revelations all along.[28:06] High rhetorical style in Dante's vernacular mouth.

Hoy te contare historias, de casas con historias ocultas, animas del purgatorio que vienen de visita y sustos que estuvieron apunto de terminar en situaciones casi fatidicas.

Ever since INFERNO, Canto I, we've never fully understood why Dante woke up lost in that dark wood.Now, in the Garden of Eden, Beatrice brings him to the point where he can voice what he did wrong. He can finally offer his confession.It was all about her all along. And maybe about what he wrote. And maybe about another woman who caught his eye. Or maybe all of it at once.Join me, Mark Scarbrough, as we explore the moment in PURGATORIO in which Beatrice finally brings the pilgrim to his full confession.If you'd like to support this podcast, consider a small monthly stipend or a one-time donation, using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:12] My English translation of PURGATORIO, Canto XXXI, Lines 22 - 48. If you'd like to read along or continue the conversation with me, please find this episode's entry on my website, markscarbrough.com.[03:16] An easy outline of this passage.[04:27] Recasting Dante's faults into metaphoric language.[09:18] Dante's confession.[12:40] Beatrice and the formal form of "you."[14:34] Her acceptance of Dante's confession, leading him to contrition.[18:15] Beatrice: allegory v. realism.[23:15] Rereading the passage: PURGATORIO, Canto XXXI, lines 22 - 48.

Today on Ascend: The Great Books Podcast, Deacon Harrison Garlick and Dr. Donald Prudlo explore the intricate relationship between Plato and St. Thomas Aquinas, examining how Aquinas's thought is influenced by Platonic philosophy while also being rooted in Aristotle. We are reading the PURGATORIO for Lent!Check out our LIBRARY OF GUIDES TO THE GREAT BOOKS.See Dr. Prudlo's books on St. Thomas, administration, and more!They discuss the nuances of Aquinas' understanding of universals, the nature of evil, and the significance of the body in Christian anthropology, highlighting the complexities of Aquinas's intellectual context and the historical development of these philosophical ideas. They discuss how Aquinas synthesized various philosophical traditions, particularly in his understanding of existence and essence, the role of beauty, and the moral implications of his metaphysics. The dialogue also touches on the early church's reception (or rejection) of Aristotle, the influence of Islamic philosophy, and the evolution of Aquinas' thought throughout his life. Ultimately, the conversation highlights the richness of Aquinas' philosophy and its relevance to contemporary discussions on faith and reason.Chapters00:00 Introduction to the Great Books Podcast03:11 Experiencing the Papal Conclave06:34 Plato and Aquinas: A Complex Relationship12:43 Aquinas' Intellectual Evolution17:02 The Importance of Reading the Great Books24:25 Platonic Thought in Aquinas' Philosophy34:48 The Quest for Certitude in Philosophy37:20 Realism and the Nature of Universals40:56 Mind-Body Dualism and the Significance of the Body47:36 The Reception of Aristotle in Early Christianity54:09 The Distinction Between Essence and Existence01:04:53 The Role of Beauty in Aquinas' Philosophy01:06:38 Exploring Beauty in Philosophy01:11:23 The Role of Beauty in St. Thomas Aquinas01:13:44 The Ladder of Love and Its Implications01:19:18 Essence and Existence in Thomistic Thought01:21:41 The Hierarchy of Being and Divine Wisdom01:25:22 The Evolution of Aquinas' Thought01:27:35 Understanding Aquinas Through His Influences01:30:17 Final Thoughts on Faith and ReasonTakeawaysAquinas is often mischaracterized as purely Aristotelian.The relationship between Plato and Aristotle is more complex (and harmonious) than often portrayed.Aquinas' thought is enriched by both Platonic and Aristotelian influences.Evil is understood as a privation of the good in Aquinas's philosophy.Aquinas' understanding of universals differs from both Plato and Aristotle.The concept of exitus and reditus is a key Neoplatonic idea in Aquinas.The mind-body dualism presents challenges for Christian thought.Aquinas retained Platonic emphasis on the...

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Wailing, Dante comes in for Beatrice's impatience. He hasn't responded yet to her charges, so she turns the spear point of her words on him.He cracks . . . and in doing so, loses language, words, the very things that are the heart of his craft.Canto XXXI opens with an intensely emotional scene, meant to bring the pilgrim right to the brink of his ability to handle things . . . about like what happened with Francesca in INFERNO, Canto V.Join me, Mark Scarbrough, as we explore the second canto of PURGATORIO that is centered on the pilgim Dante's interiority . . . and his craft as a poet.Here are the segments for this episode of WALKING WITH DANTE:[01:49] My English translation of PURGATORIO, Canto XXX, Lines 1 - 21. 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.[03:36] Prefatory remarks on PURGATORIO, Canto XXXI.[07:02] A node of Dantean irony in a very serious canto.[10:14] Confession, the first step to forgiveness for Dante (but not for the church).[15:49] The master poet and the failure of his language.[24:29] Dante, the cracked crossbow.[28:15] The return of Francesca.[30:34] Rereading PURGATORIO, Canto XXXI, lines 1 - 21.

Beatrice finishes her first indictment of Dante by showing him the fit subject matter for his abundant talent: her and the damned.She accuses him of chasing after false images, then of discounting her own inspiration in dreams. She ends with her final hope: to descend to the doorway of the dead and get the pilgrim started across the known universe.Join me, Mark Scarbrough, as we explore the final lines of PURGATORIO, Canto XXX: Beatrice's first indictment of Dante.Here are the segments for this episode of WALKING WITH DANTE:[01:25] My English translation of the passage: PURGATORIO, Canto XXX, Lines 127 - 145. If you'd like to read along or continue the discussion with me, please find the entry for this episode on my website, markscarbrough.com.[03:16] In praise of Beatrice's elevated rhetoric.[05:20] The erotic tension between Beatrice and Dante.[07:59] First callback in the passage: to either the Siren in PURGATORIO XIX or to the second woman in the VITA NUOVA.[10:22] Second callback: to either Beatrice's eyes or her appearance in a dream toward the end of the VITA NUOVA.[13:43] Third callback: to Limbo (and Virgil).[15:37] Dante's search for the subject matter that will fit his talent.[16:47] Four levels of interpretation for Beatrice's first indictment: literal, moral, allegorical, and anagogical.[21:31] When was Dante supposed to purse these failings on the mountain?[23:27] Rereading the passage: PURGATORIO, Canto XXX, lines 127 - 145.

Episodio donde los co-capitanes platican sobre el casting de Ryan Hurst como Kratos para la serie de Amazon, Pari va al cine a ver Primate, Wisto repite ver la trilogía extendida de Lord of the Ring y ambas películas de IT, viene la nueva serie de Game of Thrones llamada A Knights of the Seven Kingdoms, se reduce enormemente el número de jugadores en Battlefield 6, técnicas para pre-compra de expansiones en los juegos, la teoría de que el ser humano venía en el meteorito que extinguió a los dinosaurios, el por qué la tabla periódica ya está llena, el alucinar una vida completa debido a la salvia y terminamos con otra teoría donde nosotros vivimos en la Tierra es el vivir en el Purgatorio donde estamos pagando los pecados de nuestra vida original! Escúchanos: Spotify / Apple Podcasts / YouTube Apóyanos: patreon.com/holamsupernova Síguenos: Instagram/ Twitter/ TikTok @holamsupernova Merch: holamsupernova.myshopify.com

Beatrice is now fully in charge . . . so much so that she can even tell the angels in the chariot with her what they can't understand.She launches into her first indictment of the pilgrim, Dante. Here, she claims that he hasn't fulfilled his talent.He hasn't? With so much of COMEDY behind us?And what if then the point of this journey? Is it poetic craft or personal redemption?Join me, Mark Scarbrough, as we comb through the first of Beatrice's condemnations of Dante's many failings that have led him to the top of Mount Purgatory.If you'd like to help support this podcast with a one-time donation or a small monthly stipend, please consider donating what you can through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:41] My English translation of PURGATORIO, Canto XXX, Lines 100 - 126. If you'd like to read along or continue the conversation with me, please find its entry on my website, markscarbrough.com.[04:23] What can the angels in the chariot not know?[08:13] What germinates from heaven, far above the seeds that blow out of the Garden of Eden?[11:15] What was Dante supposed to have done?[15:19] What good was this journey across the known universe?[18:40] How do you stay open to the grace you get but perhaps don't expect?[20:02] Rereading the passage: PURGATORIO, Canto XXX, lines 100 - 126.

Beatrice has offered her first condemnation of Dante, just as his salve and mentor, Virgil, has left the scene. He's stuck across Lethe with the ice sheet encasing his heart. Even the angels surrounding Beatrice in the chariot seem dumbfounded by her vitriol and offer the pilgrim a psalm of consolation . . . which finally makes the ice that has surrounded his heart melt. He ends up wailing.Join me, Mark Scarbrough, as we explore this brilliant passage about interiority from the very top of Mount Purgatorio in the Garden of Eden.Here are the segments for this episode of WALKING WITH DANTE:[01:34] My English translation of PURGATORIO, Canto XXX, Lines 79 - 99. If you'd like to read along or drop a comment on this episode, please find its entry on my website: markscarbrough.com.[03:53] One textual reference in the passage: Psalm 30/31: 1 - 8.[07:46] A second textual reference in the passage: Augustine's CONFESSIONS, Book VIII.[09:07] One metaphoric rearrangement in the passage: Beatrice as mother and Dante as son.[11:55] A second metaphoric rearrangement: the melting ice inside of Dante.[19:28] Allegory as art.[22:30] Rereading the passage: PURGATORIO, Canto XXX, lines 79 - 99.

We finally hear the first words from Beatrice's mouth. (We've heard her before but as told by Virgil in INFERNO, Canto II.) She is certainly not person we expected. She's the admiral controlling her ship.She names the pilgrim, names herself, and gets very close to blasphemy in a passage that defies our expectations, about as revelation should.Join me, Mark Scarbrough, for the moment that Beatrice takes center stage in Dante's masterwork, COMEDY.If you'd like to help underwrite this podcast, 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:[01:33] My English translation of PURGATORIO, Canto XXX, Lines 55 - 78. If you'd like to read along or drop a comment about this episode, please find its entry on my website: markscarbrough.com.[04:41] The pilgrim finally named: Dante.[09:03] The crux dilemma of orthodoxy: purity versus human feeling.[13:44] Beatrice's ship, plus other ships in COMEDY.[15:29] Beatrice, the admiral.[17:34] Dante's difficulty in naming himself.[20:20] Beatrice, Minerva, and our (or the pilgrim's?) expectations.[23:42] Beatrice's curious blasphemy and questions.[27:09] Dante as a rejuvenated Narcissus.[30:32] Rereading the passage: PURGATORIO, Canto XXX, lines 55 - 78.

The parade of revelation has stopped and everything holds its breath for what comes next.She's veiled, behind scattered flowers. But Beatrice arrives, in the place of Jesus Christ, her second coming, her advent in the victory chariot.And as she arrives, Virgil disappears from COMEDY. (Statius, too, even if he's still standing next to the pilgrim.) This moment is perhaps the climax of the poem as we have understood it up until now. From here on, everything changes. We have moved out of time and into a world beyond human reason. It's a cause for rejoicing but also for great sadness.Here are the segments for this episode of WALKING WITH DANTE:[01:13] My English translation of PURGATORIO, Canto XXX, Lines 22 - 54. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.[04:14] Word choices in the passage that reflect its thematic and emotional space.[07:04] The Vita Nuova as foundational to Beatrice's appearance.[12:00] Beatrice's colors and the parade of revelation.[13:39] Christological confusions with Beatrice.[16:48] Gender confusions during her arrival.[19:10] The pilgrim's imagined dialogue with a (mis)quote from The Aeneid.[23:03] The sad, quiet disappearance of Virgil and the pilgrim's pronounced, loud interiority.[29:02] The silent, almost unnoticed departure of Statius from the poem.[31:06] The cleansing of the pilgrim as a bookend for the work of PURGATORIO.[32:39] Rereading the passage: PURGATORIO, Canto XXX, lines 22 - 54

The grand parade of revelation has come to a stop across Lethe from our pilgrim, Virgil, and Statius. Everything seems to hold its breath: the constellations stop moving, the crowd goes quiet, one voice calls out for the bride, then a hundred angels appear, calling out for the groom . . . which is surely Jesus, right?We seem to be on the verge of a celestial marriage ceremony, the mystic union of Jesus and his church . . . except Virgil's AENEID gets the last word and darkens the scene considerably.Join me, Mark Scarbrough, as we stand in expectation at the top of Mount Purgatory for the arrival of . . . somebody.Here are the segments for this episode of WALKING WITH DANTE:[01:24] My English translation of PURGATORIO, Canto XXX, Lines 1 - 21. If you'd like to read along or continue the conversation with me by dropping a comment on this episode, please find its entry on my website: markscarbrough.com.[04:33] The Little Dipper, the North Star, the chariot, a griffin, and the Bible, all bound up in the longest sentence in COMEDY.[13:59] The resurrection with a reclothed voice (that is, the stuff of poetry).[16:38] Many angels in a very small cart.[19:32] Quoting the triumphal entry of Jesus into Jerusalem (here and in The Vita Nuova).[21:44] Quoting the tragic prophecy about Marcellus from THE AENEID.[24:43] Inserting Dante and Virgil into Biblical citations.[26:59] Rereading the passage: PURGATORIO, Canto XXX, lines 1 - 21.

As we have done throughout PURGATORIO, let's read through a chunk of the canticle to get the plot down so that we can then focus on the many moving parts that comprise it.Here are cantos XXX and XXXI, in many ways the climax of the first part of COMEDY: the arrival of Beatrice, long awaited since INFERNO, Canto II.Her arrival is like nothing we can expect. In fact, it's her second coming . . . like Christ, in judgment. Get ready. She's not one to be toyed with![01:29] A read-through of PURGATORIO, Cantos XXX and XXXI.

The pilgrim has found the perfect perch to see the full scope and length of the parade of allegories at the top of the Mount Purgatory in the garden of Eden.After the griffin and its chariot come seven merry women and seven more somber men. They are complex allegories that have inspired much debate.More than that, they are also an atemporal moment, something outside of chronological time, the way revelation most often happens.Join me, Mark Scarbrough, as we look more closely at the end of the (first half of the) apocalyptic parade our pilgrim witnesses from across the river Lethe.If you'd like to help with the many costs of this podcast, please consider a very small monthly stipend or a one-time gift, using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:13] My English translation of PURGATORIO, Canto XXIX, Lines 121 - 154. 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.[04:34] The three theological virtues (or colors)--which cause a rereading of previous moments in the great parade.[09:02] The four cardinal or philosophical virtues, clothed in purple, a deep, imperial red.[12:00] The seven men who end the parade as seen through the now standard (or consensus) interpretation: the latter books of the New Testament.[16:06] Alternate interpretations: the allegories as a parade of revelation, rather than strictly the books of the Bible.[20:38] The metapoetics of living, walking books.[21:24] The temporal anomaly of the grand parade.[24:11] Rereading the entire parade: PURGATORIO, Canto XXIX, lines 43 - 154.

The parade goes on to include a Roman, two-wheeled, victory chariot between the four animals. It's a brilliant moment, a chariot better than even famous Roman conquerors got, pulled by a griffin, a legendary two-natured creature . . . yet with a curious moment of emptiness right in all of the victory.Join me, Mark Scarbrough, as we continue deeper into the allegory of the parade of revelation at the top of Mount Purgatory.Here are the segments for this episode of WALKING WITH DANTE:[01:32] My English translation of PURGATORIO, Canto XXIX, lines 106 - 120. If you'd like to read along or continue the conversation about this passage with me, please find its entry on my website, markscarbrough.com.[03:13] The changing nature of allegory at the top of Mount Purgatory.[09:38] The poetics of the passage: extreme concision and more of Guido Cavalcanti's pastoral poetry.[13:26] Roman military history in the passage: Scipio the Younger and Caesar Augustus.[17:41] Roman (or Ovidian) mythology in the passage: Phaëthon and the sun's chariot.[21:39] The griffin: ancient, medieval, and allegorical (but of what?).[27:20] The great aporia: the chariot is empty![28:51] Rereading the passage: PURGATORIO, Canto XXIX, lines 106 - 120.

The parade goes on, now that the pilgrim, Dante, is in a good spot to see it.After the twenty-four lords in white come four animals with green fronds as crowns. They are like the Cherubim in both the prophecies of Ezekiel and in the Apocalypse of St. John (or the book of Revelation).Except not really. Or sort of. Well, the poet doesn't have time to explain. Go read the text yourself. And especially the one that doesn't quite agree with what I saw.Join me, Mark Scarbrough, as we find Dante's irony alive and well, even during the grand parade of divine revelation.Here are the segments for this episode of WALKING WITH DANTE:[01:20] My English translation of PURGATORIO, Canto XXIX, Lines 88 - 105. 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.[02:56] The naturalistic, lush landscape à la Guido Cavalcanti's pastoral poem.[04:49] The constellations, Argus, and the peacock.[06:35] The four "animals" from Ezekiel and the Apocalypse of St. John (or the New Testament book of Revelation).[09:19] Allegorical interpretations of the four animals.[11:19] "Unmoored" allegories in COMEDY: here and with the three beasts in INFERNO, Canto I.[14:02] Dante, the Biblical text, and questions of its inerrancy.[16:25] The direct address tot he reader, perhaps a wild bit of Dantean irony even here in the divine parade.[21:34] Rereading the passage: PURGATORIO, Canto XXIX, lines 88 - 105.

The parade goes on! Our pilgrim, Dante, turns back from Virgil's amazement and finds more of the parade coming toward him . . . at least, he does so after he's reprimanded by the lady who stands across Lethe.In this passage, the poet's craft heightens to reveal gorgeous poetry that comes from the apocalyptic tradition but far exceeds its beauty with both the Easter eggs Dante puts in the text and the ways the poetry itself enhances the wonder of the parade at hand.Join me, Mark Scarbrough, as we work through our second passage on the parade of revelation in the Garden of Eden at the top of Mount Purgatory.Here are the segments for this episode of WALKING WITH DANTE:[01:19] My English translation of PURGATORIO, Canto XXIX, lines 58 - 87. If you'd like to read along or continue the conversation with me, please find the entry for this podcast episode on my website, markscarbrough.com.[04:09] The tradition of apocalyptic literature and Dante's use of it.[08:44] Biblical references in this part of the apocalyptic parade.[13:54] Contemporary cultural references in the parade.[16:01] Surprises: Dante's changes to Biblical imagery, his Easter eggs to his own text, and his idiosyncratic word choices.[20:07] Possible allegorical interpretations for the twenty-four lords (or elders) and the distance of ten paces between the lights.[25:20] The poetry of the parade: colorful brushwork and gorgeous (if incomplete) reflections in Lethe.[28:43] More on emergent revelation.[31:47] Rereading PURGATORIO, Canto XXIX, lines 58 - 87.

As the pilgrim, his poets, and the beautiful lady continue to stand beside Lethe, they see the approaching parade of the apocalypse, which is an example of emergent revelation, the truth coming in slowly and even deceptively.Our poet has set up a poetic space that leaves even Virgil speechless as we witness the first of the parade of multiple, open-ended meanings proliferate in the Garden of Eden.Join me, Mark Scarbrough, as we catch our first glimpse of Dante's answer to St. John's Apocalypse.If you'd like to help underwrite the many fees associated with this podcast, 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:[01:16] My English translation of PURGATORIO, Canto XXIX, Lines 31 - 57. 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.[04:00] The emergent revelation of the images and sounds.[09:00] The process of perception (and understanding).[14:12] Multiplying meanings in the apocalyptic parade.[20:27] The creation of space for the poetic imagery.[23:11] The second invocation of PURGATORIO.[26:50] The questions of poetic craft in this vision.[28:23] Virgil in the apocalypse.[31:10] Rereading the passage: PURGATORIO, Canto XXIX, lines 31 - 57.

2025 Maya Angelou Book Award winner Alison C. Rollins joins co-hosts Whitney Terrell and V. V. Ganeshananthan to discuss her 2024 poetry collection Black Bell. She explores the history and symbolism of a bell-laden iron device used to control and torture enslaved people and describes the replica she created after studying metalworking. She also recounts the story of Harriet Jacobs, who spent seven years hidden in her grandmother's attic before escaping slavery. Rollins talks about how her poems engage in call and response with other texts, including the music of Sun Ra and Stevie Wonder and images connected to ornithology, anatomy, Afrofuturism, and the history of slavery. She reflects on who has historically been granted the title of “poet” in America and discusses the archival research behind her writing. Rollins rings a glass bell and reads several poems from Black Bell.To hear the full episode, subscribe through iTunes, Google Play, Stitcher, Spotify, or your favorite podcast app (include the forward slashes when searching). You can also listen by streaming from the player below. Check out video versions of our interviews on the Fiction/Non/Fiction Instagram account, the Fiction/Non/Fiction YouTube Channel, and our show website: https://www.fnfpodcast.net/This podcast is produced by V.V. Ganeshananthan, Whitney Terrell, Amelia Fisher, Victoria Freisner, Wil Lasater, and S E Walker. Alison C. RollinsBlack BellLibrary of Small CatastrophesOthers:Incidents in the Life of a Slave Girl by Harriet JacobsThe Divine Comedy - Inferno, Purgatorio, Paradiso by Dante AlighieriThe Chronicles of Narnia by C.S. LewisThe Lord of the Rings by J.R.R. TolkienWu - Tang Clan - Enter The Wu - Tang (36 Chambers) [Full Album Mix] See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Our pilgrim, Dante, and the beautiful lady across Lethe walk on for a bit before the stream bends and the pilgrim ends up facing the right way to see the first flash of light that will signal the great apocalyptic parade in Eden.The opening of PURGATORIO, Canto XXIX, brings us back to the pastoral world of Guido Cavalcanti's poem before launching us into allegory, theology, morality, and even misogyny.If you'd like to help underwrite the many fees for this podcast, please consider a one-time donation or a small monthly stipend using this PayPal link right here.Join me, Mark Scarbrough, as we find ourselves at the front of the great parade in Eden.Here are the segments for this episode of WALKING WITH DANTE:[01:27] My English translation of PURGATORIO, Canto XXIX, Lines 1 - 30. If you'd like to read along or continue the conversation by dropping a comment, please find the entry for this episode on my website, markscarbrough.com.[04:07] An introduction to PURGATORIO, Canto XXIX.[06:59] The only canto in COMEDY that begins with a derivative of the word "canto."[08:24] More references to Guido Calvalcanti's pastoral poem.[11:44] A psalm retrofitted to become a beatitude, moving us from the classical world to divine revelation.[14:31] The symbolism (and allegory?) of their paces and the stream's bend.[18:00] Sight and hearing as the basis but not nearly enough, as with Guido Cavalcanti's poem.[19:02] The lady's reaction ("brother") and the pilgrim's reaction (a lack of fear).[21:45] The misogyny from the initial flash of light.[28:59] Rereading the passage: PURGATORIO, Canto XXIX, lines 1 - 30.

How are there so many threads in this crazy campaign? What inspired this version of Hell? Are carrots good vegetables or not? All that and more on this Afterparty!We're playing Masks for this campaign! You can access a running list of all the NPCs from Campaign 4 here.Sponsors- Uncommon Goods, where you can get 15% off at uncommongoods.com/jointhepartyFind Us Online- website: https://jointhepartypod.com- patreon: https://patreon.com/jointhepartypod- instagram: https://instagram.com/jointhepartypod- twitter: https://twitter.com/jointhepartypod- tumblr: https://jointhepartypod.tumblr.com- facebook: https://facebook.com/jointhepartypod- merch & music: http://jointhepartypod.com/merchCast & Crew- Game Master, Co-Producer: Eric Silver- Co-Host, Co-Producer, Sound Designer, Composer (Connor Lyons): Brandon Grugle- Co-Host, Co-Producer, Editor (Shelley Craft): Julia Schifini- Co-Host, Co-Producer (Rowan Rosen): Amanda McLoughlin- Artwork: Allyson Wakeman- Multitude: https://multitude.productionsAbout UsJoin the Party is an actual play podcast with tangible worlds, genre-pushing storytelling, and collaborators who make each other laugh each week. We welcome everyone to the table, from longtime players to folks who've never touched a roleplaying game before. Hop into our current campaign: the drama and excitement of a superhero high school! Or marathon our completed stories: Campaign 3 for a pirate story set in a world of plant- and bug-folk, the Camp-Paign for a MOTW game set in a weird summer camp, Campaign 2 for a modern superhero game, and Campaign 1 for a high fantasy story. And once a month we release the Afterparty, where we answer your questions about the show and how we play the game. New episodes every Tuesday.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

SNIKT! Like most things you get up to as teenagers when you don't have school, our super seniors have nothing better to do than walk around a circle of hell helping a rat with telekinesis try to get his soul back. But all that glitters isn't gold (or hellish baubles), as you need to watch your back for the Devil's eyes when you're walking his home turf.We're playing Masks for this campaign! You can access a running list of all the NPCs from Campaign 4 here.Sponsors- Bookshop.org, where the code we shared in the midroll will get you 10% off your order!Find Us Online- website: https://jointhepartypod.com- patreon: https://patreon.com/jointhepartypod- instagram: https://instagram.com/jointhepartypod- twitter: https://twitter.com/jointhepartypod- tumblr: https://jointhepartypod.tumblr.com- facebook: https://facebook.com/jointhepartypod- merch & music: http://jointhepartypod.com/merchCast & Crew- Game Master, Co-Producer: Eric Silver- Co-Host, Co-Producer, Sound Designer, Composer (Connor Lyons): Brandon Grugle- Co-Host, Co-Producer, Editor (Shelley Craft): Julia Schifini- Co-Host, Co-Producer (Rowan Rosen): Amanda McLoughlin- Artwork: Allyson Wakeman- Multitude: https://multitude.productionsAbout UsJoin the Party is an actual play podcast with tangible worlds, genre-pushing storytelling, and collaborators who make each other laugh each week. We welcome everyone to the table, from longtime players to folks who've never touched a roleplaying game before. Hop into our current campaign: the drama and excitement of a superhero high school! Or marathon our completed stories: Campaign 3 for a pirate story set in a world of plant- and bug-folk, the Camp-Paign for a MOTW game set in a weird summer camp, Campaign 2 for a modern superhero game, and Campaign 1 for a high fantasy story. And once a month we release the Afterparty, where we answer your questions about the show and how we play the game. New episodes every Tuesday.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

KNOCK KNOCK KNOCK! Who is rapping, rapping at my cabin door? “'Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more. Wait, we're not supposed to be at this cabin and we're literally in Hell. Oh no. Uh oh.”We're playing Masks for this campaign! You can access a running list of all the NPCs from Campaign 4 here.Sponsors- Bookshop.org, where the code we shared in the midroll will get you 10% off your order!Find Us Online- website: https://jointhepartypod.com- patreon: https://patreon.com/jointhepartypod- instagram: https://instagram.com/jointhepartypod- twitter: https://twitter.com/jointhepartypod- tumblr: https://jointhepartypod.tumblr.com- facebook: https://facebook.com/jointhepartypod- merch & music: http://jointhepartypod.com/merchCast & Crew- Game Master, Co-Producer: Eric Silver- Co-Host, Co-Producer, Sound Designer, Composer (Connor Lyons): Brandon Grugle- Co-Host, Co-Producer, Editor (Shelley Craft): Julia Schifini- Co-Host, Co-Producer (Rowan Rosen): Amanda McLoughlin- Artwork: Allyson Wakeman- Multitude: https://multitude.productionsAbout UsJoin the Party is an actual play podcast with tangible worlds, genre-pushing storytelling, and collaborators who make each other laugh each week. We welcome everyone to the table, from longtime players to folks who've never touched a roleplaying game before. Hop into our current campaign: the drama and excitement of a superhero high school! Or marathon our completed stories: Campaign 3 for a pirate story set in a world of plant- and bug-folk, the Camp-Paign for a MOTW game set in a weird summer camp, Campaign 2 for a modern superhero game, and Campaign 1 for a high fantasy story. And once a month we release the Afterparty, where we answer your questions about the show and how we play the game. New episodes every Tuesday.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

So… uh… we can't go to school if there is no school. Now what?We're playing Masks for this campaign! You can access a running list of all the NPCs from Campaign 4 here.Sponsors- United by Blue, creators of sustainable apparel and outdoor gear. Use code jointheparty for 20% off at https://unitedbyblue.comFind Us Online- website: https://jointhepartypod.com- patreon: https://patreon.com/jointhepartypod- instagram: https://instagram.com/jointhepartypod- twitter: https://twitter.com/jointhepartypod- tumblr: https://jointhepartypod.tumblr.com- facebook: https://facebook.com/jointhepartypod- merch & music: http://jointhepartypod.com/merchCast & Crew- Game Master, Co-Producer: Eric Silver- Co-Host, Co-Producer, Sound Designer, Composer (Connor Lyons): Brandon Grugle- Co-Host, Co-Producer, Editor (Shelley Craft): Julia Schifini- Co-Host, Co-Producer (Rowan Rosen): Amanda McLoughlin- Artwork: Allyson Wakeman- Multitude: https://multitude.productionsAbout UsJoin the Party is an actual play podcast with tangible worlds, genre-pushing storytelling, and collaborators who make each other laugh each week. We welcome everyone to the table, from longtime players to folks who've never touched a roleplaying game before. Hop into our current campaign: the drama and excitement of a superhero high school! Or marathon our completed stories: Campaign 3 for a pirate story set in a world of plant- and bug-folk, the Camp-Paign for a MOTW game set in a weird summer camp, Campaign 2 for a modern superhero game, and Campaign 1 for a high fantasy story. And once a month we release the Afterparty, where we answer your questions about the show and how we play the game. New episodes every Tuesday.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

PlayStation has a weird new ad campaign, why Agent didn't happen, and The Simpsons have arrived in Fortnite. Follow, watch, and rate all of our podcasts on Spotify! https://open.spotify.com/show/1hXrn6RoMMAiNGLE8jxKKf Thank you for the support! Run of Show - - Start - Housekeeping Today after, KFGD, you'll get: Then the STREAM is Arc Raiders Today's Gregway The Roper Report   - - Marvel Games says it'll continue to work with Spider-Man and Wolverine studio Insomniac ‘for many years to come' - Ad - Cloud Streaming officially arrives on PlayStation Portal today - Nintendo plans for growth include "acquiring dev companies," pursuing more non-gaming avenues, and growing Nintendo Accounts - Steam Deck now has a display-off low-power download mode - ‘Grand Theft Auto' Studio Accused of Union Busting After Firings - Required Reading: Inside Dante's Purgatorio, the Cancelled Sequel to EA's Dante's Inferno: https://www.ign.com/articles/inside-dantes-purgatorio-the-cancelled-sequel-to-eas-dantes-inferno - Wee News! - SuperChats & You‘re Wrong Learn more about your ad choices. Visit megaphone.fm/adchoices