Podcasts about rereading

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.

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.

In this episode, the hosts delve into the complexities of the Malazan series, focusing on the character of Silver Fox and her multifaceted identity. They explore themes of motherhood, sacrifice, and the implications of resurrection, particularly through the lens of Kalor's tyranny and the influence of the Elder Gods. The discussion also covers the Deck of Dragons and the Azath Houses, emphasizing their roles in structuring the chaotic elements of the narrative. The conversation highlights the interconnectedness of characters and the series' challenge to traditional notions of morality. In this conversation, the participants delve into the intricate themes and character dynamics of the Malazan series, particularly focusing on the concepts of order and chaos, the significance of the hounds, and the mysteries surrounding the gates. They discuss the importance of rereading the series to uncover deeper connections and insights, as well as the implications of the War Council and the emerging threat of the Panyin Domain. The conversation also highlights the internal struggles of characters like Paran and the enigmatic nature of Burn, exploring how memories and past experiences shape their identities.Send us a messageSupport the showFilm Chewing Podcast: https://www.buzzsprout.com/2235582/followLens Chewing on YouTube: https://www.youtube.com/@lenschewingSpeculative Speculations: https://creators.spotify.com/pod/show/speculative-speculationsSupport the podcast: https://www.paypal.com/ncp/payment/7EQ7XWFUP6K9EJoin Riverside.fm: https://riverside.fm/?via=steve-l

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.

One of our favorite sections of the text — Grannie Liu takes Baoyu's bed for a spin, dreaming her own dream of red chambers! A full sensory experience, we compare it to Bayou's dream from Qin Keqing's bed.Support the show

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.

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.

This episode includes Dancing the Tightrope Chapters Twelve The Froth is My Friend and Thirteen The Art of Living. These chapters mark a turning point in my journey of making friends with pressure. To this day, I still find it difficult to explain how different this approach to pressure – and to life – is from the typical approach espoused in high performance coaching elsewhere. Rereading these two chapters several years later, I'm still pleased with how well these two chapters explain the “pressure as a catalyst” approach. However, it's dang near impossible to understand it if you haven't experienced it. The best analogy I've come up with is what I call the “fish story.” Fish don't know they live in water. Water is all they know. On the other hand, dolphins are aware of world of water and of course they are aware of air, since they must surface to breathe. Learning about the unseen forces that impacted the way I dealt with pressure was a little like being a fish who discovered there was a whole different world. In order to break the surface and breathe the air of life., I had to ask myself some tough questions along the way.  These two chapters break down the distinction between pressure and the thing causing the pressure, and also those tough questions, which I believe apply to anyone seeking the signal of a genuine life amidst the noise of the modern world.

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.

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 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.

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.

Granny Liu's choice of cups (wood is good!) figures prominently in this installment. A wide-ranging discussion of social class and constructed value, as the real and unreal reveal themselves to be deeply interwoven.Support the show

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, 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.

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.

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.

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.

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.

The Possibility of Literature: The Novel and the Politics of Form (Cambridge University Press, 2024) is a collection of Peter Boxall's essays over twenty years, the earliest from 1996. These essays cover a vast timespan, from the 17th century to contemporary times; a multiplicity of authors ranging from canonical, such as Cervantes, to underappreciated, such as Kelman; and various traditions, from realism to 'deathwriting'. Despite the richness of material, Boxall's penetrating and refreshing vision never loses sight of two central questions: what makes literature possible and what does literature generate? The essays are clustered into three sections, 'On Writers', 'On Literary Tradition', and 'On the Contemporary'. Exploring questions such as 'The Idea of Beauty', the nature of 'Mere Being', or the possibilities of Rereading, the author anatomises the myriad forces that shape the literary imagination. At the same time, he gives vivid critical expression to the imaginative possibilities of literature itself – those unique forms of communal life that literature makes possible in a dramatically changing world, and that lead us towards a new shared future.  Peter Boxall is the Goldsmiths' Professor of English Literature at New College, University of Oxford. His publications include Don DeLillo: The Possibility of Fiction (2002), Since Beckett: Contemporary Writing in the Wake of Modernism (2009) and The Prosthetic Imagination: A History of the Novel as Artificial Life (2020). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Possibility of Literature: The Novel and the Politics of Form (Cambridge University Press, 2024) is a collection of Peter Boxall's essays over twenty years, the earliest from 1996. These essays cover a vast timespan, from the 17th century to contemporary times; a multiplicity of authors ranging from canonical, such as Cervantes, to underappreciated, such as Kelman; and various traditions, from realism to 'deathwriting'. Despite the richness of material, Boxall's penetrating and refreshing vision never loses sight of two central questions: what makes literature possible and what does literature generate? The essays are clustered into three sections, 'On Writers', 'On Literary Tradition', and 'On the Contemporary'. Exploring questions such as 'The Idea of Beauty', the nature of 'Mere Being', or the possibilities of Rereading, the author anatomises the myriad forces that shape the literary imagination. At the same time, he gives vivid critical expression to the imaginative possibilities of literature itself – those unique forms of communal life that literature makes possible in a dramatically changing world, and that lead us towards a new shared future.  Peter Boxall is the Goldsmiths' Professor of English Literature at New College, University of Oxford. His publications include Don DeLillo: The Possibility of Fiction (2002), Since Beckett: Contemporary Writing in the Wake of Modernism (2009) and The Prosthetic Imagination: A History of the Novel as Artificial Life (2020). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The Possibility of Literature: The Novel and the Politics of Form (Cambridge University Press, 2024) is a collection of Peter Boxall's essays over twenty years, the earliest from 1996. These essays cover a vast timespan, from the 17th century to contemporary times; a multiplicity of authors ranging from canonical, such as Cervantes, to underappreciated, such as Kelman; and various traditions, from realism to 'deathwriting'. Despite the richness of material, Boxall's penetrating and refreshing vision never loses sight of two central questions: what makes literature possible and what does literature generate? The essays are clustered into three sections, 'On Writers', 'On Literary Tradition', and 'On the Contemporary'. Exploring questions such as 'The Idea of Beauty', the nature of 'Mere Being', or the possibilities of Rereading, the author anatomises the myriad forces that shape the literary imagination. At the same time, he gives vivid critical expression to the imaginative possibilities of literature itself – those unique forms of communal life that literature makes possible in a dramatically changing world, and that lead us towards a new shared future.  Peter Boxall is the Goldsmiths' Professor of English Literature at New College, University of Oxford. His publications include Don DeLillo: The Possibility of Fiction (2002), Since Beckett: Contemporary Writing in the Wake of Modernism (2009) and The Prosthetic Imagination: A History of the Novel as Artificial Life (2020). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

The Possibility of Literature: The Novel and the Politics of Form (Cambridge University Press, 2024) is a collection of Peter Boxall's essays over twenty years, the earliest from 1996. These essays cover a vast timespan, from the 17th century to contemporary times; a multiplicity of authors ranging from canonical, such as Cervantes, to underappreciated, such as Kelman; and various traditions, from realism to 'deathwriting'. Despite the richness of material, Boxall's penetrating and refreshing vision never loses sight of two central questions: what makes literature possible and what does literature generate? The essays are clustered into three sections, 'On Writers', 'On Literary Tradition', and 'On the Contemporary'. Exploring questions such as 'The Idea of Beauty', the nature of 'Mere Being', or the possibilities of Rereading, the author anatomises the myriad forces that shape the literary imagination. At the same time, he gives vivid critical expression to the imaginative possibilities of literature itself – those unique forms of communal life that literature makes possible in a dramatically changing world, and that lead us towards a new shared future.  Peter Boxall is the Goldsmiths' Professor of English Literature at New College, University of Oxford. His publications include Don DeLillo: The Possibility of Fiction (2002), Since Beckett: Contemporary Writing in the Wake of Modernism (2009) and The Prosthetic Imagination: A History of the Novel as Artificial Life (2020).

In this episode, Dr. Jennifer Noonan talks about "Rereading and Recycling Texts for Reading Fluency" in the SLA section of the podcast. This is stuff you don't want to miss! ***GlossaHouse resources are available at our website! - https://glossahouse.com/✏️ ***Sign up for classes with GlossaHouse U - https://glossahouse.com/pages/classes

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.

This part of chapter 40 of Dream of the Red Chamber (Story of the Stone, Hongloumeng) is a lot of poetic fun, but is it purely fun and games? What kind of symbolism and foreshadowing lie within, and will illicit references catch the censor's gaze? How will Baochai escape the dialectical logic of “takes one to know one”? Is gaming a kind of waking dream? What kind of displacements might be occurring? All these questions, and more, are addressed in this installment* of Rereading the Stone.Support the show

“O King, as I repeatedly recall this wondrous and holy dialogue between Krishna and Arjuna, I take pleasure, being thrilled at every moment.” (Sanjaya, Bhagavad-gita, 18.76)

In this episode of My Simplified Life, host Michelle Glogovac speaks with Sahil Bloom, author of The 5 Types of Wealth. They explore the concept of wealth beyond just financial means, discussing the importance of social connections, mental health, physical well-being, and personal growth. Sahil shares his journey of redefining success, emphasizing the significance of tiny daily actions and investments in relationships. The conversation highlights the need for curiosity and the power of simple habits like walking to enhance overall life satisfaction. What We're Talking About... Wealth is not just about money; it encompasses various aspects of life. Defining what 'enough' means to you is crucial for happiness. Tiny daily actions can lead to significant life changes. Investing in relationships is as important as financial investments. Curiosity fuels personal growth and mental health. Physical activity, like walking, is essential for overall well-being. You should prioritize self-investment over material purchases. Rereading impactful books can provide new insights as you grow. Creating space in your life allows for curiosity and creativity. Success is a personal definition that evolves over time. Chapters 00:00 Introduction to Sahil Bloom 07:24 Defining Enough: Money and Happiness 13:37 Tiny Actions for Big Changes 19:22 Navigating Relationships and Presence 25:30 Physical Wealth: The Power of Walking 35:05 The Journey to Wealth and Creativity Links Mentioned Sahil Bloom's Website https://www.the5typesofwealth.com/    

Kevin and Erik discuss how they minimize the time they spend rereading passages in Logical Reasoning and Reading Comprehension. Read more on our website!Email daily@lsatdemon.com with questions or comments.Watch this episode on YouTube.

  My friend Nathalie Dupree died this week. I was shocked though I knew she had not been well, because she hadn't texted me back. She always texted me back. We had things to discuss. She always led with, “I can only say this to you.” I could hear her clucking between the lines. Rereading all our texts, I decided to save them. They are copied and pasted into my friendship diary. I'll need them in the future when I'm missing her. I wanted to hear Nathalie's voice so I asked Cindie if she would repost the episode that we recorded two years ago for our Women Beyond A Certain Age podcast. Always charming, always funny, always Miss Nathalie. I picture Nathalie sitting in a beautiful, high backed velvet chair, her eyes are sparkling, she is holding court. She is, obviously, the Queen of Southern Cuisine. Dressed in a red jacket, she's added a thick gold choker. There's the silky swirl of a hand painted scarf over her shoulders. She's holding her tall glass of Diet Coke. She knows exactly how many ice cubes are in the glass. She looks over and winks when she catches me watching her. Thank you, Miss Nathalie. For everything.   NATHALIE'S LINKS Website: https://www.nathalie.com/index.htm Email: nathaliedupree@aol.com Books: https://www.amazon.com/Nathalie-Dupree/e/B001HD432K/ref=dp_byline_cont_pop_ebooks_1   Women Beyond a Certain Age is an award-winning weekly podcast with Denise Vivaldo. She brings her own lively, humorous, and experienced viewpoint to the topics she discusses with her guests. The podcast covers wide-ranging subjects of importance to older women.   SHOW LINKS: Website Join our Facebook group Follow our Facebook page Instagram Episode archive Email us: WomenBeyond@icloud.com Denise Vivaldo is the host of WBACA. Her info lives here More of Denise's info is here Cindie Flannigan is the producer WBACA. Her info lives here

This week I want to share a piece of advice that really comes from my wonderful husband and it's this: Don't send emails that make your heart race. That email will only make it worse. Let me explain. Just a few days ago I found myself in bed at eleven, eyes wide open in the dark, building an email in my mind. I laid there meticulously building a case in my imaginary email to explain why I was mad at a person who was mad at me.  Soon I was bathed in the midnight glow of my screen, writing the email. And rewriting it. And editing it for grammar. Rereading it again. And feeling more and more and more upset as the clock ticked on to 1 a.m.   I sent it to my husband the next day to ask if he thought I'd explained myself well. The email was temporarily dominating my life, and I wasn't sure anymore if it was saying what I wanted to say. He called me as soon as he got my message, rather than write back.  “It's well put. But it's not an email,” he said. “It's a conversation. This is just going to stoke a fire, it's not going to do anything to resolve the situation.” I didn't send it. So much for the three hours I spent on it. But on the other hand, I didn't feel like I was going to throw up all day waiting for whatever response would have come.   Perhaps you can relate to me when I say I am quite conflict-averse. I feel much more comfortable explaining myself in writing than having emotional conversations, especially at work. I've been involved in several back-and-forth email tangles over the years where the drama grew and grew and grew as we emailers exchanged missive after missive between classes, over lunch, after school, at night.  Whether an email whirlwind like this is with an angry student, an upset parent, an administrator, or a colleague, it rarely ends with sunshine and rainbows.  But here's what my husband has learned from years working in the student life department at different schools, trying to help upset people resolve situations. Usually, if your heart is racing as you go to click send, it's meant to be a conversation. Where you can see the feelings of the other person on their face. Where you can explain what you meant when they look blankly at you. When you can see that they're maybe having a hard time with something else and it's exploding out at you. Or they can see that. So this week, as much to myself as to you, I want to highly recommend that if our hearts are racing, we have a conversation instead of hitting “send.”  Go Further:  Explore alllll the Episodes of The Spark Creativity Teacher Podcast. Get my popular free hexagonal thinking digital toolkit Join our community, Creative High School English, on Facebook. Come hang out on Instagram.  Enjoying the podcast? Please consider sharing it with a friend, snagging a screenshot to share on the ‘gram, or tapping those ⭐⭐⭐⭐⭐ to help others discover the show. Thank you!   

Why yet another book on the Manusmriti? In From Fire To Light: Rereading the Manusmriti (Harper Collins, 2024), acclaimed academic Arvind Sharma argues that the present understanding of the Manusmriti - regarded as a text designed by the higher castes, especially brahmanas, to oppress the lower castes and women - only tells one side of the story. As he demonstrates, this perception, when examined against textual, commentarial and historical evidence, is limited to the point of being misleading (and sometimes downright wrong). Providing an alternative reading of the Manusmriti, From Fire to Light accepts some of the conclusions associated with the existing interpretation but presents them in a new light, mitigating and at times contradicting some of its other features. In taking the plural character of the Hindu tradition and the Manusmriti's historical context more deeply into account, it brings about a paradigm shift in our understanding of this ancient Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A crocodile ate my parents! All-Star Comics Journalist Gita Jackson and World's Finest Comics Expert Alex Jaffe team up with Emerald Artist Ted Brandt of Connor Hawke's DC Pride story, tackling Australia's place in DC, why Etrigan can't rap, and Jason Todd's tragic origins. Chapters: Let's Talk Supernatural, Connor Hawke, and Rereading 52 (05:09) Let's Talk Talent (23:12) Let's Talk About 52 #28 (23:42) The Backup (46:18) What's your favorite part of the issue? (51:21) The Blackboard (53:11) Asking The Questions at 52mailbag@gmail.com (01:01:49) A SMALL SELECTION OF THINGS REFERENCED: 52 Geoff Johns Grant Morrison Greg Rucka Mark Waid Keith Giffen The Question: All Along the Watchtower Alex Segura Crowded DC Pride Connor Hawke Ted Brandt Harley Quinn Pokémon Pokémon Trading Card Game Pocket Mewtwo Vampire Survivors DC Heroes United Bluesky Phantom Zone Marvel Batman Superman Blitzkrieg Robert Kanigher James Gunn John Ostrander The Suicide Squad (2021) T.O. Morrow Jojo's Bizarre Adventure Robert E. O. Speedwagon Green Arrow Andrea Shea Chuck Dixon Jadzia Axelrod Galaxy: The Prettiest Star Ghost-Maker Supernatural The West Wing The Vampire Diaries Studio 60 on the Sunset Strip Buffy the Vampire Slayer Joss Whedon The Boys Garth Ennis Red Tornado Will Magnus Tyler, the Creator Common Chip Zdarsky Etrigan Batman: Damned MF Doom Drew Johnson David Baron Stephen Wacker Vic Sage Renee Montoya Batwoman Poison Ivy Batman: Wayne Family Adventures Mad Max PlayStation 2 Storm Kurt Busiek Brad Meltzer Vision Young Justice Jujutsu Kaisen Tom Taylor Intergang Lobo Emerald Head of Ekron Devilance Legion of Super-Heroes New Gods Cosmos Blackest Night Annihilation Jaime Reyes Blue Beetle (2023) Green Lantern Corps Tatsuki Fujimoto Chainsaw Man Stuart Immonen Kathryn Immonen Moving Pictures The Final Night Hal Jordan Nextwave Adam Strange Animal Man Bruno Mannheim J. H. Williams III Killer Croc Jason Todd Egg Fu Alan Scott Catman Gail Simone Dale Eaglesham Secret Six Villains United Infinite Crisis Kraven the Hunter (2024) Birds of Prey Rag Doll Huntress The Punisher The Guild Felicia Day Dr. Horrible's Sing-Along Blog Crime Bible: Five Books of Blood Vandal Savage Australia Invasion! Superman II (1980) Rob Williams Suicide Squad David Ayer Captain Boomerang Rip Hunter Hitman Tommy Monaghan Catwoman DC One Million Joker Stitch Xanthe Zhou Julien Jourdain Taylor Barzelay Bobby Drake Cassandra Cain Stephanie Brown Tim Drake Kelly Thompson King Shark Dennis O'Neil Lois Lane Guy Gardner Bill Burr Batman: the Animated Series This American Life Wonder Woman Tom King Power Rangers Infinity #1 Sam Humphries Titans: Beast World 52 Pickup is an Aftermath production, created by Gita Jackson and Alex Jaffe, and edited by Esper Quinn, with original music by Jon Ehrens. If you'd like to follow along, you can check out 52 at your local comic book store or library, or the DC Universe Infinite subscription service. The views and opinions expressed on this show are solely those of the show's personalities, and do not reflect those of DC Entertainment or Warner Bros. Please rate and review our show wherever you can, and send your questions and comments to 52mailbag@gmail.com. Never stop reading comics.

The zealous slothful have run on, although there are still two coming in the rear, "biting" the penitents from behind with warnings about sloth.After that, the pilgrim Dante has a new thought--curiously undefined--which leads him into his second dream in PURGATORIO.Join me, Mark Scarbrough, as we finish off Canto XVIII and leave our pilgrim to his slumbers.Here are the segments for this episode of WALKING WITH DANTE:[01:30] My English translation of the passage: PURGATORIO, Canto XVIII, lines 130 - 145. If you'd like to read along or continue the conversation with me, please find this episode on my website, markscarbrough.com.[03:16] Virgil, but only in periphrasis.[07:27] Two warnings: one Biblical and one classical (from The Aeneid!).[11:27] The connection between fear and sloth.[13:41] The pilgrim's new thought: possibly Beatrice?[18:01] Rereading the passage: PURGATORIO, Canto XVIII, lines 1130 - 145.

At last, the slothful penitents arrive. They're a roiling horde in a crazy rush, whipped around the terrace to make up for the ways they were negligent in life.As these frantic souls pass by, one of them speaks a brave truth about Dante the poet's primary patron, a fierce warlord who has sheltered the poet on the run but whose family may not be all they're cracked up to be.Join me, Mark Scarbrough, as we work through this amazing passage of PURGATORIO, a plea to not hesitate when it comes to speaking truth to power.If you'd like to help underwrite the many fees associated with this podcast, please consider a small monthly donation or a one-time gift by using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:32] My English translation of the passage: PURGATORIO, Canto XVIII, lines n97 - 129. If you'd like to read along or continue the conversation with me, please find this episode in the list of episodes for this podcast on my website, markscarbrough.com.[04:09] There are two admonitions for purposeful haste: Mary and Julius Caesar.[09:46] An address to the penitents . . . from Virgil.[11:00] Virgil clouds our definition of sloth . . . and perhaps our understanding of his place in PURGATORIO.[15:47] The Abbott of San Zeno tells of the fall of his monastery into chaos (as well as Milan's fall into chaos).[21:00] Hurry up and speak truth to power.[24:12] Rereading the passage: PURGATORIO, Canto XVIII, lines 97 - 129.

Our pilgrim has found himself in the dark of night, a time where he loses all effort on Mount Purgatory.But don't get too sleepy, Dante. You can get run over by the slothful, all at a full gallop in a Bacchic frenzy.Join me, Mark Scarbrough, as we return to the plot after Virgil's discourses on love, here on the fourth terrace of Mount Purgatory.If you'd like to help underwrite the many fees associated with this podcast, please consider donating a small monthly stipend or a one-time gift at this PayPal link right here.These are the segments of this episode of WALKING WITH DANTE:[01:42] My English translation of the passage: PURGATORIO, Canto XVIII, lines 76 - 96. If you'd like to read along or continue the conversation with me, please find this episode on my website, markscarbrough.com.[03:39] The complicated opening passage about the moon and the time of night.[13:38] Virgil and the values of chivalry.[16:41] Directionality and the penitents of Purgatory.[20:32] The Bacchic penance of the slothful.[23:12] The pilgrim's sleepy, poetic imagination.[24:41] Rereading the passage: PURGATORIO, Canto XVIII, lines 76 - 96.

Virgil offers his third discourse on love at the middle of PURGATORIO to 1) show his work about ethics derived from Aristotle's notions of substance and cause and 2) to make sure the pilgrim understands that his actions are his own fault.This is a complicated passage with lots of historical resonances, particularly from Aristotle and Plato (as understood through Aquinas). It'll take us some work to unpack it, but we'll get very close to our modern understanding of ethics.Join me, Mark Scarbrough, as we work through the last of Virgil's major discourses.If you'd like to help underwrite the many fees associated with this podcast, you can do so at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[02:13] My English translation of the passage: PURGATORIO, Canto XVIII, lines 49 - 75. If you'd like to read along or continue the conversation with me, please find this episode on my website, markscarbrough.com.[05:12] The various notions of Aristotelean causality in the passage: material and necessary causes, as well as the nature of "substance."[11:59] Material causes and substantial forms.[14:59] A misinterpretation of the substance and material in the passage that has infected the commentary on COMEDY for centuries.[17:44] The desire for primary things and Virgil's misunderstanding.[23:24] Virgil's (and Dante's) definition of reason and our understanding of ethics from it.[28:35] Reason's results: ethics.[29:41] A logic flaw in Virgil's argument.[33:13] Marco of Lombardy vs. Virgil.[36:19] Rereading the passage: PURGATORIO, Canto XVIII, lines 49 - 75.

Virgil has finished his second, clarifying discourse on love, but it hasn't done the trick. The pilgrim Dante is even more full of doubts . . . pregnant with them, in fact.Let's look at the pilgrim's second question to Virgil's discourse on love and talk about the complex ways Beatrice and even physical desire operate in the poem.I'm Mark Scarbrough. Thanks for coming on the journey with me.If you'd like to help underwrite the many fees associated with this podcast, you can do so at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[02:19] My English translation of the passage: PURGATORIO, Canto XVIII, lines 40 - 48. If you'd like to read along or continue the conversation with me, please find this episode on my website, markscarbrough.com.[03:47] To understand Dante's concept of love, void the Renaissance and Romanticism out of your thinking.[09:48] An impregnated pilgrim brings up the sexual basis of desire (or love).[12:50] The pilgrim asks a crucial question for any religion: How am I responsible?[15:22] The allegory of Virgil and Beatrice comes close, even while Beatrice remains a physical draw for desire.[19:01] Rereading the passage: PURGATORIO, Canto XVIII, lines 40 - 48.

In answer to the pilgrim's request that Virgil show his work on the nature of love, Virgil (and the poet Dante behind him) condense and recast the very bases of the thinking in Western culture: Aristotle's notion that the objective world creates a mental picture that forms the basis of any action.This passage is one of the most complex in PURGATORIO. Join me, Mark Scarbrough, as we take apart its claims and some of the translation problems both from the poetry's concision and the seismic change in thought after the Enlightenment.Here are the segments for this episode of WALKING WITH DANTE;[01:56] My English translation of the passage: PURGATORIO, Canto XVIII, lines 19 - 39. If you'd like to read along or continue the conversation, please find this episode on my website, markscarbrough.com.[04:30] A few things to admit before we start.[08:00] The three steps or stages of love.[14:01] The problem of translating "anima."[17:26] Basic claims in Virgil's second discourse.[23:17] Problems with these claims--and how Dante the poet solves them.[29:14] Rereading the passage: PURGATORIO, Canto XVIII, lines 19 - 39.

Virgil seemed to have come to a resting place in his monumental discourse on love: "Here's all I know . . . and all I don't know."But the pilgrim is less than satisfied. He wants Virgil to continue on, to show his work for these complex syllogisms.And Dante the poet is not done with Virgil either, given the mirrored structure of cantos XVII and XVIII.Join me, Mark Scarbrough, as we move beyond the mid-point of COMEDY and our pilgrim asks for more about how love is the seed of all human actions.If you'd like to help underwrite the many costs and fees associated with this podcast, please consider donating what you can at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:29] My English translation of the passage: PURGATORIO, Canto XVIII, lines 1 - 18. If you'd like to read along or continue the conversation, please find this episode on my website, markscarbrough.com.[03:19] Human love, like PURGATORIO itself, is a liminal space.[06:03] Dante the poet leans heavily into Virgil's truth-telling, scholastic credentials.[09:24] Canto XVIII is wrapped by the word "new."[11:28] Dante's interiority gives way to the poem's interiority![13:33] The damned Virgil is a source of light, like the angels.[15:03] The pilgrim asks Virgil to show his work and perhaps overstates Virgil's argument about love.[19:10] Virgil lambasts the blind guides . . . who may be religious figures or also poets who refuse to write in the vernacular.[21:27] Rereading the passage: PURGATORIO, Canto XVIII, lines 1 - 18.

We come to the end of Virgil's (first) discourse on love, as well as the end of the central canto of PURGATORIO.But it's a strange end since Virgil admits to what he doesn't know. Having been so certain about how human behavior operates, he concludes by telling Dante the pilgrim he's on his own to find out further answers.Join me, Mark Scarbrough, as we conclude Virgil's astoundingly certain discourse on love with an ironic, ambiguous moment.Here are the segments for this episode of WALKING WITH DANTE:[01:41] My English translation of the passage: PURGATORIO, Canto XVII, lines 127 - 139. 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.[03:31] A secondary motivation for human behavior: quiet (or peace).[07:22] A pronoun ambiguity in the passage.[09:23] The temporary nature of the cornices of Purgatory.[11:14] Virgil and the core ambiguity in PURGATORIO.[12:29] The problem of too much love.[13:55] Love and the things Virgil cannot know.[16:29] Rereading all of Virgil's discourse on love: PURGATORIO, Canto XVII, lines 91 - 139.