Ancient World

*Brief programming note; the episodes will be a bit more sporadic this winter/spring - due to other projects and commitments! More about this in the future episosdes! :))*

In this episode we'll briefly look at the "Divine Names" by Dionysius the Areopagite, and then go through some key points in the great book "Aristotle East and West", by David Bradshaw.

Themes for this episode is the nature and limitations of Conceptual Thought, and how to balance this with the more immediate and intuitive experience of the mystery and the Divine.

We will also connect the thinking of Dionysius, Gregory of Nyssa, Dante, Maximus, and the Old Biblical Stories!

Thanks for listening,
and enjoy! 

Welcome back to the opening of the third season of the Ancient World Podcast!

In the coming few months we will look deeper into symbolic readings with the early Church Founders from c. 0-600 AD, and have more conversations and interviews with experts, scholars, and fellow youtubers and podcasters!

Main themes this season will be the wisdom and beauty of the earliest centuries, and the thinkers leading up to Aquinas and Dante, and the Florentine Renaissance in the 13 hundreds.

Thanks for listening,
and enjoy! :))

In this episode we will look at the philosophical perspectives on Divinity in Aristotle, and how this is referenced in the Paradiso by Dante.

We will also discuss the concept of potential and actuality, and the degree to which a "potential" could be seen or thought of as existing in itself before being actuality.

From the Metaphysics - the First Mover as principle/origin/beginnings:
"On such a principle, then, depend the heavens and the world of nature."
- Book 12, chapter 7.

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Programming update;
The postings will be a bit sporadic this summer, as we prepare for new episodes!
Introduction to the main themes on the podcast so far is:

Dante
The Inferno: 34-39, 43-45
Purgatory: Ep 55-61
The Paradiso: 11,13,24,25,28 (selected highlights), and the ending 63-64.

Greeks
Greek Myth: 46 (Creation), 47 (Europa/Minos), 49 (Hubris), 51-54 (The Flood), 67.
Greek Philosophy: 1,2,7,14,16-19,22-23,26,29-32, 65,66,68.

Reflections
Correspondence: Ep66.
Biblical Stories: 8 (Babel).
Wisdom Quotes: 4,12,14,17,23,26. 
Etymology: Ep7.
Writings: Ep41, 62, 65. (From "Renaissance, Part I").
Overall Reflection: 6 (The Gifts), 40 (The Treasures of the Ancient World). 

Thanks for listening, and enjoy! :)

In this episode we will take one more look at the different approaches to knowledge and wisdom through the storytelling and myth, vs. the more rational-logic approach of philosophy. We will reference the Theogony of Hesiod, and the in some ways first Greek Philosopher, Thales.

From the opening of the Theogony - as Hesiod consciously taps into the deep of the biology, beauty, inspiration and creativity;

"And one day they taught Hesiod glorious song while he was shepherding his lambs under holy Helicon, and this word first the goddesses said to me -- the Muses of Olympus, daughters of Zeus who holds the aegis:

`Shepherds of the wilderness, wretched things of shame, mere bellies, we know how to speak many false things as though they were true; but we know, when we will, to utter true things.'"

Theogony, v.23-28.

In this episode we discuss a recent correspondence with a renowned and distinguished Professor in Religion and Philosophy, an expert on the two main intellectual and spiritual traditions in the Ancient World. We'll be assessing Dante's Comedy in light of his artistic endeavor, his contribution to the Catholic faith, and the points of divergence between the Comedy's Journey and the Biblical stories and Doctrine.

In some ways one might say that Dante is trying to blend the two traditions even in the final big moment of Vision in his work, seeing both a Plato concept of Divine Light and the incarnation of Divinity in Man (Christ Figure).

I saw the Great Light shine into three circles
 in three clear colors bound in one same space;

the first seemed to reflect the next like rainbow
on rainbow, and the third was like a flame
equally breathed forth by the other two.

(..) seemed in Itself and in Its own Self-color
to be depicted with man's very image.

C33, v. 116-131

The correspondence provides several interesting viewpoints on these topics, as well as clarifying some key points of artistic liberties in Dante's work from a religious viewpoint.

In this episode we have two main parts, the first is an example of the transitional point in studies and learning, when the brain creates a release and flood of new understanding - after a moment of doubts.

The second part is about the connections between the ending of the Comedy and Aristotle's Metaphysics. And also how Aristotle goes to the very deepest levels in defining words and concepts, and first principles in the nature of thinking, and in existence itself.

After a long journey through the worlds of the afterlife, symbolic of human nature and experience, Dante now reaches the Empyrean - the spiritual experience beyond time and space, filled with pure light, and being in the Mind of God.

He sees the White Rose (the Divine Love) and is accompanied by the mystic St. Bernard - as Beatrice takes her place in her home on the third row of the White Rose, and Dante needs mystic contemplation for his final vision.

After receiving the Grace from Mary after a deep prayer, his powers expands to the point where he finally sees right into the center of the Light and describes:

I saw the Great Light shine into three circles 
in three clear colors bound in one same space;

the first seemed to reflect the next like rainbow
on rainbow, and the third was like a flame
equally breathed forth by the other two.

C33, v. 116-120.

And as his highest wish of insight is then granted, he feels himself impelled and moved forward,

by the Love that moves the sun and the other stars.

C33, v. 145.

In the 9th Sphere of Heaven, the Primo Mobile, Dante suddenly sees a reflection of the center of the Divine Light glowing in Beatrice's eyes, and then looks up. What he sees is the illuminating light with nine rings of the Angelic Orders swirling around in increasing speed towards the center, with Love. There are millions and millions of sparks and Angels in his vision.

Beatrice explains:

"On that Point
depend all nature and all of the heavens.

Observe the circle nearest it, and know
the reason for its spinning at such speed
is that Love's fire burns it into motion."

C28, v. 41-45

Studying the Renaissance and the Ancient World can grow and change the way you see, feel, perceive, reflect on and experience the world around you. One example of the process is described here:

 "There was a certain firmness taking shape, or a different platform or deeper soil for the thoughts. The experience of thinking was elaborating in new ways, that I needed some time to reflect upon. It was like connecting to something bigger that was also outside of my mind, something shared or in common, with the previous times and the larger society as a whole. It was almost like the thinking started to come from a bigger home. And it felt relaxing, fuller of substance, and more detailed and interesting. Like several layers connecting in new ways. And the perception of the surroundings started to slightly be influenced too, but it was still early."

The last 6 cantos describes the dramatic events in the Garden of Eden, where Dante meets Beatrice and is finally cleansed after a deep confession. He is then fully restored, and ready for the stars.

This also concludes the second book, the Purgatory.

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Programming note; after the Easter Holidays and some travels - we'll be back in Early May! Thanks for listening - and have a great day :)

As they go through the remaining six terraces of punishments and atonement on Mount Purgatory, Dante learns the final parts of human nature and its moral structures. He is then ready to enter the Garden of Eden on the top, the Earthly Paradise - as Lord of Himself - and he can now follow his instinct for pleasure, knowing well the nature and consequences of the sins.

As Virgil and Dante walk through the main gate of the Purgatory they discover a set of beautiful carvings about the virtue of humility, they meet the regretful souls of the proud under heavy slabs of stone, and they discover a second set of carvings, this time with stories about pride.

After this, an angel comes and removes one of the seven P's from Dante's forehead:

"He led us straight to where the rock was cleft.
  Once there, he brushed his wings against my brow,
  then he assured me of a safe ascent."
v.  97-99, Canto XII.

And finally, when Dante realizes what has happened, the 12th Canto ends with a smile.

"so, my right hand with fingers spread found just
  six of the seven letters that were carved
  upon my brow by him who keeps the keys.

Observing this, my master smiled at me."

v. 133-136, Canto XII.

From the first slope through the two levels of Antepurgatory, Dante and Virgil reach the main gate which is guarded by an angel with a sword. The Guardian uses a golden and silver key to open the gate, symbolic of the authority to do so, and the skill and wisdom to asses the souls' sincerity of their regrets. The keys were given to him by Peter.

In canto 3, Dante first marvels at the work he sees in front of him:

"I raised my eyes to marvel at the mount
that grew out of the sea toward Heaven's height."
v. 14-15

At the Main Gate the Guardian appears:

"I slowly raised my eyes: I saw that he
was sitting on the highest step, his face
too splendid for my eyes - I looked away!

And in his hand he held a naked sword;"

v. 79, canto IX.

In the second Canto of the Purgatory a boat with over a hundred souls arrives at the shore, ready to climb up the mountain to purify their spirits. Dante meets an old friend, who sings with a beautiful voice and spellbounds the other souls. Then Cato the Guardian appears:

"And while we stood enraptured by the sound
of those sweet notes - a sudden cry: "What's this,
you lazy souls?" It was the Just Old Man.

"What negligence to stand around like this!
Run to the mountain, shed that slough which still
does not let God be manifest to you!""

v. 118-123, Canto II.

And then they move towards the first slope.

The second episode on the opening of Purgatory, with the symbolic act of washing his face as a cleansing of sins - and as the theme of the second book, and Purgatory Mountain. Cato tells them two things;

"Go with this man, see that you gird his waist
with a smooth reed; take care to bathe his face
till every trace of filth has disappeared,"

v. 94-96, Canto I.

Which means to from now equip him with humility, and rinse his soul properly of the "filth" (sins) he was witnessing in the first book, the Inferno.

Today we are looking at the opening of the Purgatory, and how Dante is using the elements of Greek Myth, Literature, Biblical stories and the history of the Roman Empire to create the first few lines of the second book. His "boat" is growing, as symbol of his poetic powers and the story we are following.

In this episode we will look at a brief overview of the nine muses, the deities of inspiration in the Greek Mythology; Calliope, Clio, Euterpe, Erato, Melpomene, Polyhymnia, Terpsichore, Thalia and Urania - and their roles as openings for the Illiad, the Odyssey, the Theogony - and countless other major works from the Ancient World (and also later in the Renaissance).

Hesiod describes:

"And one day they taught Hesiod glorious song while he was shepherding his lambs under holy Helicon, and this word first the goddesses said to me -- the Muses of Olympus, daughters of Zeus who holds the aegis:

`Shepherds of the wilderness, wretched things of shame, mere bellies, we know how to speak many false things as though they were true; but we know, when we will, to utter true things.'"

Here pointing out how the inspiration came to him while he was "shepherding his lambs" under the mountain, and also pointing out how creativity might be wrong and false, but sometimes, when "the muses will", also telling the brilliant and true things.

From Ovid's Book 1 - here is the dramatic story of the Great Flood, that wipes out all of civilization and recreates the world as the Age of the Heroes.

In this episode we are reading and commenting on the story of Prometheus from the starting point of the Dispute of Mecone, to the hiding and theft of Fire from Zeus, and the punishment of Pandora and her Jar that is not to be opened.

An overview of the Five Ages of the world, and the big Flood that wipes out the mythological Bronze Age, before the Great Age of the Heroes.

A big thank you to all our listeners for tuning in and for the enduring and loyal support! It really is a big inspiration!

Also,
from the Greek Creation Myth - the birth of the Skies and the Mountains;

"And Earth first bare starry Heaven, equal to herself, to cover her on every side, and to be an ever-sure abiding-place for the blessed gods. And she brought forth long Hills, graceful haunts of the goddess-Nymphs who dwell amongst the glens of the hills."

In this episode we look at the concept of Hubris and Nemesis in the Greek Myth, and link the events from Europa and Zevs on Crete, to the Labyrinth of Daedalus, and the story of his son Icarus who flew too close to the sun.

In this episode we'll discuss the question: "Why are the Greek Gods in the same Universe as the Christian Gods in the "Comedy""?

More of the Greek Myths, and the origins of the name of Europe as a continent.
For illustrations and more info, please go to https://www.subscribestar.com/ancientworld. 

Thank you for listening! :)

From the origin of the Gods, and the Cosmos.

In the last part of the Inferno, Dante and Virgil meet Lucifer in the center of the planet, half frozen in ice. He is gigantic in size, and his head has three faces eating the three traitors Judas, Brutus and Cassius (who plotted against The Roman Emperor Caesar.)

From the opening of the last poem, Canto 34:

A far-off windmill turning its huge sails
when a thick fog begins to settle in,
or when the light of day begins to fade,

that is what I thought I saw appearing.
And the gusts of wind it stirred made me shrink back
behind my guide, my only means of cover.

And then in the astonishing last four lines of the whole book, they are again, set free:

We climbed, he first and I behind, until,
through a small round opening ahead of us
I saw the lovely things the heavens hold,

and we came out to see once more the stars.

v.136-139, Canto XXXIV

After seeing the "falsifiers" in the last part of Circle 8, Dante encounters the Well of Giants, where biblical and Greek Mythological figures are bound with chains. They represent the betrayal and the combination of strength, intellect and evil will.

Dante reflects:

for when the faculty of intellect
is joined with brute force and with evil will,
no man can win against such an alliance.

Verse 55-57, Canto XXXI

The end of this canto ends with Dante and Virgil being lifted down to a lake of ice, and the 9th circle of Hell. Deep in the pit.

Here is the giant Antaeus bending down, and then rising up again afterwards, like a ship's mast:

As the Garisenda looks from underneath
its leaning side, at the moment when a cloud
comes drifting over against the tower's slant,

just so the bending giant Antaeus seemed
as I looked up, expecting him to topple.
I wished then I had gone another way.

But he, most carefully, handed us down
to the pit that swallows Lucifer with Judas.
And then, the leaning giant immediately

drew himself up as tall as a ship's mast.

Canto XXXI, verse 130-145

In this episode we give a broader overview of the Lower Inferno from the City of Dis, down through the waterfall, and deep into the 8th circle.

The three main parts of the inferno is the incontinence (lack of self-restraint), violence (to self or others), and different forms of fraud in the deepest part journey.

From the scene of the waterfall, into the abyss:
I saw a figure coming, it was swimming
  through the thick and murky air, up to the top
  (a thing to startle even stalwart hearts),

like one returning who has swum below
  to free the anchor that has caught its hooks
  on a reef or something else the sea conceals,

spreading out his arms, and doubling up his legs.

Canto XIV, verse 130-136.

A reflection on the timeless balance and sometimes contradiction between reason and emotion, in human nature and also in contrasting strains of history. 

The quote was the following:
"Emotions of any kind can be evoked by melody and rhythm; therefore by music a man becomes accustomed to feeling the right emotions; music has thus the power to form character, and the various kinds of music based on various modes may be distinguished by their effects on character.
- Aristotle

A quick review of the last 40 episodes, and reflections on why and how the Ancient World is a treasure trove for our understanding of the world, and a deep source for inspiration.

Today's quote is:
"I care not where my body may take me as long as my soul is embarked on a meaningful journey."
- Dante