Thanks for watching, Laura. I’m trying to be a small light in this world (mostly with my day to day life at work and at home…. these videos are a hobby!).
26:49 I've read something similar in The Dialogue of St. Catherine of Siena. Where the memory, a part of the soul, works in retaining remembrance of our affections. Which in the case of Dante, once rid of the Ps and purified, does not remember his past sins. Beautiful canto! Also lots of historical context. Thanks Tom
Made it to the end! wow what a wrap up. I missed so much when I read this on my own and what is standing out the most is how much this ties back to to the beginning. I cannot wait to come in fresh at the beginning of Paradiso and do a proper follow along!
I can’t wait, my friend. I will need all the brain power that’s available to get through Paradiso, so I’m very glad you’ll be reading along. The comments section of this Dante project has become a great source of ideas and information that I keep going back to.
This last canto was a joy to read. I found it funny how Beatrice talks in riddles to poor dumb Dante. The writerly feat of having much of the dialogue going over the protagonist's head added a subtle humor and reinforced the theme of struggling for understanding. I'm looking forward to the Paradiso, and I have to thank you again as I think I would never have continued this far without you and these videos.
Isn't it constantly surprising? How he writes things that you would NOT expect to be there? This pretending that his fictional self doesn't understand what Beatrice is saying is one of those things. Sometimes I make the mistake of comparing the Comedy to some other classic work, but then these details remind me that the Comedy cannot be compared to anything else in the world. Thanks for the long-standing support, it's been practically one year already!
2 down and 1 more to go! I'm glad I picked up the Hollander translation. I don't know how I made it though Inferno with just the Longfellow translation. I also have Hollander's translation of Paradiso. You did another excellent job with the commentary. Hollander does not mention Averroism in his commentary, he just mentions that Dante had been pursuing philosophy instead of theology. I liked that Hollander points out that both Inferno and Purgatorio end with the word "stars".
Thank you John. So glad that you are still on board after all this time - and after all these 67 cantos! AND you survived Longfellow, which is a feat in itself. With all these numbers and codes, I always wonder if some A.I. in the years to come will actually discover some other secret code that Dante hid in the Commedia…
This one gets quite trippy. It is comforting that Dante seems to be struggling to understand things here too at times. How thrilling though to be at the end of Purgatorio with Paradiso ahead. Thank you.
There's a long section about the DVX symbolism and possible interpretations in Guy Raffa's new book Dante's Bones. Unsurprisingly, Mussolini thought it referred to himself, Il Duce, the supposed savior of Italy. Like Dante, I also love numbers and their symbolism, though I realize many people would consider me superstitious and irrational for taking so much stock in auspicious and inauspicious numbers and dates. I just recently added the Mandelbaum translation to my Dante collection, so now I'm able to follow along with the exact lines you're reading.
Ohh great news about your Mandelbaum! I do count on your insight for any important point that I’m sure I’m going to miss in presenting the cantos of Paradiso. Not surprised at all by Mussolini’s interpretation, but still so interesting to hear that! Il Duce had a huge ego and enormous dreams… unfortunately, the wrong dreams for Italy. There’s a new Mussolini biography that just came out, titled “M”. I’ll try to fit it in my 2022 reading.
Regarding the 'DXV' prophecy, the best explanation I've discovered is in a tractate by R. E. Kaske from 1961: "Dante's 'DXV' and 'Veltro'. It seems that there was a monogram or ligature comprised of the letters 'V' and 'D' connected so that the stem of the 'D' was also the right-part of the 'V' almost like the figure \|D where the | and the vertical stem of the 'D' are the same, with that central stem having a dash across it, making the stem a t-shape. The monogram was used in the Preface to the Canon of the Mass, representing the initial words "Vere dignum" : "Vere dignum et iustum est, equum et salutare, nos tibi semper et ubique gratias agere, Domine sancte, Pater omnipotens, eterne Deus . . ." According to Kaske, Dante made use of this monogram, whereby the letter 'D' [cinquecento = 500] also represents the word Deus [Dio in Italian = 'God'], and the word 'V' [cinque = 5] represents Vomo = Uomo (Italian for 'Man'), with the barred-stem connecting the two letters representing an X-shaped Cross [dieci = 10] but also representing the Greek letter Chi -- which looks like a Latin 'X' -- and represents 'Christ', the union of God and Man. This 'DXV' is prophesied to kill the Giant and the Whore, just as it is prophesied that Christ will kill the Antichrist at his Second Advent (2 Thessalonians 2:8). Thus, Kaske makes a good case that the 'DXV' represents the 'Dio-Xristos-Vomo' -- the 'God-Christ-Man', and not some wished-for temporal ruler Dante may once have hoped would intervene in Christendom in general and in Italy in particular. The INFERNO ends with the depiction of the 3-faced Lucifer, and the PARADISO ends with the Trinity, so it would make sense for PURGATORIO to end with a prophecy of the soon-to-arrive figure represented by 3 letters/numbers: 500 + 10 + 5 = D + X + V = Dio + Xristos + Vomo = God + Christ + Man = Jesus. I've yet to see a more convincing explanation for Dante's enigmatic prophetic personage than the one Kaske postulated back in 1961.
I didn't know much about Averroism--just heard of it in passing from other works--but looking it up now, it is strange to hear Dante would have taken it up. It was clever to write it in as a forgotten memory--it sounds like he is almost describing what we would call today an suppressed memory. While looking this up, I came across this article (I will put below this comment). I haven't read it yet, but skimming through, it may be worth a read.
Wow, what a fantastic ending to the second cantica! Bravissimo!!! I loved so many parts of this - especially the ending moments and the whole idea of reconnecting to the start of the Comedy, and the dark forest. It's a wonderful discovery that one can easily join both book two and three together, but also book one and two! There's such a mastery from Dante at this point, concluding his work so far, and getting ready for writing the Paradiso and ascending towards the stars. Btw. regarding the prophecies, I have my own little idea for the enigma of the 515, but it's just an idea. Since this is an intensely allegorical and spiritual part of the journey, and Dante might be suggesting the contrast or salvation vs. St. John's 666 (6=human, 666=highest pride of humans), the Hebrew numerology of 1 = unity and Divinity, and the number 5 = Divine Grace (also inspiration and revelation). So it might be seen as that the "saving" will come through the Divinity surrounded by, or in the center of, Divine Grace and revelation. Dante so often makes the center the "heart" of things. And it could also make sense in theological terms. Thanks again for these wonderful videos!
I'm rather late with this canto .... Dante's youthful radicalism is so familiar to us today ...and this dialogue between Aristotlian and Christian doctrine continues today ....I'm enjoying Iris Murdoch who is continuing the dialogue in her novels ...she is not Christian but strongly believes in " love " as a transformational essence rather like Beatrice .
We are out here reading and hoping with you, Tom. Many thanks for your soulful interpretation of the Purgatorio.
Thanks for watching, Laura. I’m trying to be a small light in this world (mostly with my day to day life at work and at home…. these videos are a hobby!).
Re reading the Divine Comedy with you as a guide is such a wonderful and big experience, thanks for your enthusiasm and efforts and everything.
Thank you so much 🙏🏻
26:49 I've read something similar in The Dialogue of St. Catherine of Siena. Where the memory, a part of the soul, works in retaining remembrance of our affections. Which in the case of Dante, once rid of the Ps and purified, does not remember his past sins.
Beautiful canto! Also lots of historical context.
Thanks Tom
Great seeing you progress through the poem. These are really some of the most beautiful cantos.
Made it to the end! wow what a wrap up. I missed so much when I read this on my own and what is standing out the most is how much this ties back to to the beginning. I cannot wait to come in fresh at the beginning of Paradiso and do a proper follow along!
I can’t wait, my friend. I will need all the brain power that’s available to get through Paradiso, so I’m very glad you’ll be reading along. The comments section of this Dante project has become a great source of ideas and information that I keep going back to.
Hello Tom! Happy to listen to your canto 33. I couldn’t wait for...bravo👏
Thank you 😊
excelsior.
(sigh) How Beautiful!! Thank you !
I know, right?! It seems to get better every time I read it. Now it’s time for Paradiso …. Let’s brace ourselves!
This last canto was a joy to read. I found it funny how Beatrice talks in riddles to poor dumb Dante. The writerly feat of having much of the dialogue going over the protagonist's head added a subtle humor and reinforced the theme of struggling for understanding. I'm looking forward to the Paradiso, and I have to thank you again as I think I would never have continued this far without you and these videos.
Isn't it constantly surprising? How he writes things that you would NOT expect to be there? This pretending that his fictional self doesn't understand what Beatrice is saying is one of those things. Sometimes I make the mistake of comparing the Comedy to some other classic work, but then these details remind me that the Comedy cannot be compared to anything else in the world. Thanks for the long-standing support, it's been practically one year already!
2 down and 1 more to go! I'm glad I picked up the Hollander translation. I don't know how I made it though Inferno with just the Longfellow translation. I also have Hollander's translation of Paradiso. You did another excellent job with the commentary. Hollander does not mention Averroism in his commentary, he just mentions that Dante had been pursuing philosophy instead of theology. I liked that Hollander points out that both Inferno and Purgatorio end with the word "stars".
Thank you John. So glad that you are still on board after all this time - and after all these 67 cantos! AND you survived Longfellow, which is a feat in itself. With all these numbers and codes, I always wonder if some A.I. in the years to come will actually discover some other secret code that Dante hid in the Commedia…
This one gets quite trippy. It is comforting that Dante seems to be struggling to understand things here too at times.
How thrilling though to be at the end of Purgatorio with Paradiso ahead. Thank you.
It is comforting, but then I think that he is the one who wrote the whole thing, and I go back to seeing his intellect as unreachable!
I’ve been waiting for this because I paused my reading of Paradiso to follow along with you. I look forward to reading it along with you.
Delighted you will be with us now Cristina. Your response will be interesting I know.
That’s wonderful Cristina. I’m honored! I’ll need a little help from you and the others to get through Paradiso properly!
There's a long section about the DVX symbolism and possible interpretations in Guy Raffa's new book Dante's Bones. Unsurprisingly, Mussolini thought it referred to himself, Il Duce, the supposed savior of Italy. Like Dante, I also love numbers and their symbolism, though I realize many people would consider me superstitious and irrational for taking so much stock in auspicious and inauspicious numbers and dates.
I just recently added the Mandelbaum translation to my Dante collection, so now I'm able to follow along with the exact lines you're reading.
Ohh great news about your Mandelbaum! I do count on your insight for any important point that I’m sure I’m going to miss in presenting the cantos of Paradiso.
Not surprised at all by Mussolini’s interpretation, but still so interesting to hear that! Il Duce had a huge ego and enormous dreams… unfortunately, the wrong dreams for Italy. There’s a new Mussolini biography that just came out, titled “M”. I’ll try to fit it in my 2022 reading.
Regarding the 'DXV' prophecy, the best explanation I've discovered is in a tractate by R. E. Kaske from 1961: "Dante's 'DXV' and 'Veltro'. It seems that there was a monogram or ligature comprised of the letters 'V' and 'D' connected so that the stem of the 'D' was also the right-part of the 'V' almost like the figure \|D where the | and the vertical stem of the 'D' are the same, with that central stem having a dash across it, making the stem a t-shape. The monogram was used in the Preface to the Canon of the Mass, representing the initial words "Vere dignum" : "Vere dignum et iustum est, equum et salutare, nos tibi semper et ubique gratias agere, Domine sancte, Pater omnipotens, eterne Deus . . ."
According to Kaske, Dante made use of this monogram, whereby the letter 'D' [cinquecento = 500] also represents the word Deus [Dio in Italian = 'God'], and the word 'V' [cinque = 5] represents Vomo = Uomo (Italian for 'Man'), with the barred-stem connecting the two letters representing an X-shaped Cross [dieci = 10] but also representing the Greek letter Chi -- which looks like a Latin 'X' -- and represents 'Christ', the union of God and Man. This 'DXV' is prophesied to kill the Giant and the Whore, just as it is prophesied that Christ will kill the Antichrist at his Second Advent (2 Thessalonians 2:8).
Thus, Kaske makes a good case that the 'DXV' represents the 'Dio-Xristos-Vomo' -- the 'God-Christ-Man', and not some wished-for temporal ruler Dante may once have hoped would intervene in Christendom in general and in Italy in particular. The INFERNO ends with the depiction of the 3-faced Lucifer, and the PARADISO ends with the Trinity, so it would make sense for PURGATORIO to end with a prophecy of the soon-to-arrive figure represented by 3 letters/numbers: 500 + 10 + 5 = D + X + V = Dio + Xristos + Vomo = God + Christ + Man = Jesus.
I've yet to see a more convincing explanation for Dante's enigmatic prophetic personage than the one Kaske postulated back in 1961.
Wow. Never heard this one before. It’s very convincing. Thanks for sharing!!
I didn't know much about Averroism--just heard of it in passing from other works--but looking it up now, it is strange to hear Dante would have taken it up. It was clever to write it in as a forgotten memory--it sounds like he is almost describing what we would call today an suppressed memory. While looking this up, I came across this article (I will put below this comment). I haven't read it yet, but skimming through, it may be worth a read.
Thank you - I think youtube deleted your message with the link. Maybe you can tell me the name of the website?
@@tomlabooks3263 Oh yes! The title of the article is "The Uncanonical Dante: The Divine Comedy and Islamic Philosophy" by Paul A. Cantor.
Wow, what a fantastic ending to the second cantica! Bravissimo!!!
I loved so many parts of this - especially the ending moments and the whole idea of reconnecting to the start of the Comedy, and the dark forest. It's a wonderful discovery that one can easily join both book two and three together, but also book one and two! There's such a mastery from Dante at this point, concluding his work so far, and getting ready for writing the Paradiso and ascending towards the stars.
Btw. regarding the prophecies, I have my own little idea for the enigma of the 515, but it's just an idea. Since this is an intensely allegorical and spiritual part of the journey, and Dante might be suggesting the contrast or salvation vs. St. John's 666 (6=human, 666=highest pride of humans), the Hebrew numerology of 1 = unity and Divinity, and the number 5 = Divine Grace (also inspiration and revelation). So it might be seen as that the "saving" will come through the Divinity surrounded by, or in the center of, Divine Grace and revelation. Dante so often makes the center the "heart" of things. And it could also make sense in theological terms.
Thanks again for these wonderful videos!
That’s a very ingenious idea, actually. I like it! Thanks for your message 🙏🏻
I'm rather late with this canto .... Dante's youthful radicalism is so familiar to us today ...and this dialogue between Aristotlian and Christian doctrine continues today ....I'm enjoying Iris Murdoch who is continuing the dialogue in her novels ...she is not Christian but strongly believes in " love " as a transformational essence rather like Beatrice .
Hi Hester! I love Iris Murdoch, glad to hear you’re enjoying her work.