Eau-oh... (Part 2)
A kiss is just a kiss. Except when papers are involved…
You must remember this: CAPTAIN LOUIS RENAULT, the Vichy Prefect of Police who extorts sex from migrant women in exchange for visas, walks into a bar. Not just any bar. The most legendary bar in all of cinema.
INSERT SIGN: "Rick's Cafe A…
ASMR | DANTE'S INFERNO: Canto XIV, XV, XVI, XVII, XVIII, & XIX | Soft Spoken Reading for Anxiety, Depression
An HOUR OF POWER - that's right, an hour of Dante's Inferno to catch us up with the 100 Days of Dante Challenge. This is Cantos 14-19 with a light rolling thunderstorm in the background. Soft spoken and whispered ASMR reading of the Divine Comedy by Dante Alighieri, 1320, with a light rolling thun…
Be Careful Of The Company You Keep: PURGATORIO, Canto XIV, Lines 1 - 21
Sapía has finished her amazingly complex speech with the pilgrim Dante . . . or has she? At the opening of Canto XIV, we're not sure who is speaking? Still Sapía? No, two envious souls, leaning against each other, almost gossiping about our pilgrim. And nothing satisfies envy quite like gossip.
Joi…
The Many Textures Of Envy: PURGATORIO, Canto XIV, Lines 22 - 42
Dante has started a conversation with two envious penitents . . . a conversation he might not be ready for. They prove more than his rhetorical match. They also muddy the theology of Purgatory itself. Is that intentional? Or are we expected to understand their still-fallen state?
Join me, Mark Scar…
The Descent Of The Arno Into Metaphoric Space: PURGATORIO, Canto XIV, Lines 43 - 72
Dante has been cagey about where he's from, using periphrastic phrasing to describe the Arno valley without naming it.
It was apparently the wrong thing to do . . . because one of the envious penitents is going to pick up the pilgrim's (and the poet's?) rhetorical games and push them much further i…
Now You Know Who We Are: PURGATORIO, Canto XIV, Lines 73 - 96
At long last, the speaker in PURGATORIO Canto XIV comes clean and reveals who he is . . . and who his compatriot is. They're Guido del Duca and Rinier (or Rinieri) da Calboli. Now that we now who they are, we have to go back and reassess Canto XIV as a whole.
Dante is nothing but cagey in the rheto…
Oh, For The Glory Days (That Maybe Never Were): PURGATORIO, Canto XIV, Lines 97 - 126
Guido del Duca reaches the climax of his diatribe: a nostalgic retrospective of the courts and families of Romagna. Where have the good guys gone?
Is this Dante the poet's lament? Or Guido del Duca's? Does this passage tell us more about Guido's problems or Dante's hopes?
Join me, Mark Scarbrough, …
Two More Voices On The Winds Of Envy: PURGATORIO, Canto XIV, Lines 127 - 141
With Guido del Duca enmeshed in his tears, Dante the pilgrim and Virgil begin to talk on along the terrace of envy, searching for a way up to the third terrace of Purgatory.
Lo and behold, they're struck by two voices, just as they were when they got up to this terrace. This time, it's Cain and Agl…
Virgil Inscribes Circularity Into Linearity: PURGATORIO, Canto XIV, Lines 142 - 151
Having been accosted by two voices decrying the fate of the envious on the second terrace of Purgatory proper, Dante and Virgil begin to walk toward a stairway to the third terrace. As they do, Virgil, silent for quite a while, refocuses and reinterprets most of what we've read in PURGATORIO, Canto…
Redefining The Terms Of What Seems To Be: PURGATORIO, Canto XV, Lines 25 - 33
Dante the poet is playing a very crafty game. He's been pulling out all the stops with two metaphors to help us understand the weight, meaning, and timing of the light . . . and then he redefines that source of light right underneath all those metaphors.
And just as the poet pulls off that trick, V…
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