1
00:15:21,972 --> 00:15:28,838
����Ҫ�������йع��ڵ�һ��  Ҳ�Ǿ�������ɫ�ʵ�һ��
We turn to a public canto, a political canto

2
00:15:28,838 --> 00:15:31,252
�����ǽ��е�ʮ�º͵�ʮһ����
Let me just try to explain a couple of things

3
00:15:31,253 --> 00:15:35,837
�Һ�ϲ����һ����֮ǰ
before we move on to something that I care about here, 

4
00:15:35,837 --> 00:15:39,611
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in terms of the Canto X and XI

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�����µ���ʼ����  ��������ɫ��
That's how he begins Canto VI, political canto,  

6
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like Canto VI of Inferno, 

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�Լ����õĵĵ�����һ��
and like Canto VI of Paradise 

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��������֪����  ���Ǵ��������е�һ���Գ�ԭ��
You know that now, it's a principle of symmetry at work

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00:15:50,758 --> 00:15:54,397
���²���������ĵ�����һ�����۷���������
This is not �� Canto VI of Inferno is about the city of Florence, 

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00:15:54,398 --> 00:15:56,848
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Canto VI of Purgatorio is about Italy, 

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00:15:56,849 --> 00:16:03,734
˵����������ҵĻ����Լ���ͳһ
and the disarray, the chaos, the disunity of the country

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00:16:03,735 --> 00:16:04,808
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Here he starts, 

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When the game of hazard breaks up, 

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the loser is left disconsolate, 

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Ħ������
going over his throws again, 

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�����Լ�ʧ�ܵĵ���
and sadly learns his lesson

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ʤ�߰�Ȼ������ȥ  �����˵İ�Χ
with the other all the people go off

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00:16:17,192 --> 00:16:20,539
������ǰ  �������
one goes in front, one seizes him from behind, 

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00:16:20,539 --> 00:16:23,656
�����������૲��ݵ�
another at his side recalls himself to his memory

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00:16:23,656 --> 00:16:27,622
��ʤ�߲���ͣ��  ֻ���������  �������Ǹ�����
he does not stop, but listens to this one and that one

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00:16:27,622 --> 00:16:32,285
���  �����ָ����һЩ  �ָ��Ǹ�һЩ
each to whom he reaches his hand presses on him no longer 

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�Ž������������˵�ӵ��  �����˰�Χ
and so he saves himself from the throng

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����������״Ҳ�����  ��������ذ�Χ����
Such was I in that dense crowd, 

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��һʱ����  һʱ����  ��ȡ���ǵĻ���
turning my face to them this way and that, 

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�������ǵ�����ŵ��𽥰���������
and by promising I got free from them

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�����ҿ���һ����������  �ȵ�
There was the Aretine," and so on

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00:16:46,069 --> 00:16:49,931
���Ǹ�ʮ�ֳ��ʵ�����
It's an extraordinary simile

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00:16:49,932 --> 00:16:52,564
����һ��  ����������ص㲿���� 
To explain, that's the burden of the simile

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���е������
that all the penitents 

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are so surprised at seeing Dante alive in the beyond,

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that they all go after him

32
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He is �� there's a throng of people pressing on him, 

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that's the simile

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The simile that he uses is that of the winner in a game of hazard

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That is to say, he is the winner

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00:17:12,916 --> 00:17:15,683
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Dante's the winner and they all go after him, 

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�����Ƕ�����ά����  ��������  
and they all neglect Virgil  Virgil is the loser

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���  ��������к���һ�ַǱ�Ѱ��������
Therefore, the simile introduces a language which is extraordinary

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�·𵫶�����һ������Ϸ�ĽǶ�
It is as if Dante were speaking of his salvation, 

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of the uniqueness of this journey that he is undertaking, 

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in terms of a game of hazard 

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����һֱ������  
We all have been thinking 

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that this is really a providential journey

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�ڵ����ı���  ��·�ֻ��һ��ƾ����ȡʤ����Ϸ
and now he is casting it as if it were just a game of chance

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Here is the word chance that he uses: hazard

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It's an interesting metaphor, 

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first of all, from the point of view of the language of play

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This is playful

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It's a way of almost of 

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casting one's salvation as the casting of the dice

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Ҳ�������Ʊ  ������  Ҳ����Ӯ  
It's a lottery here that someone loses and someone wins, 

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and Dante says, 

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well I was born after the incarnation, 

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����п��ܾ����Լ�  ��ά����ȴû��
so I had the possibility of saving myself and Virgil did not

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��Ҳ�Ǹ�����Ȥ�ı���
It's also an interesting metaphor 

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because it really introduces 

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�ǵ�����ѧ�������й���Ϸ������
the question of play in Dante's theological perception, 

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�й���һ��  �һ��ڽ������ò���ʱ
and it's an issue that I will talk about much more extensively 

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when we reach Paradise. 

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But one thing is clear: 

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that Dante understands that the relationship between

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�����������������ٽ�һЩ  ������ֻ˵��ô��
 �� and that's all I'm going to say unless you press me a little later 

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00:18:45,689 --> 00:18:48,433
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but we'll talk more about this metaphor 

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�� Dante understands 

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that the relationship between the soul and God 

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is a relationship shaped by risk on both sides, 

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and that this idea of risk 

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that would seem to be a blind casting of the dice

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in effect constitutes the freedom 

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that the human beings can have in the scheme of things

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The whole point of salvation is, 

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by using this language of hazard and chance, 

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�Ǿ���  �����ҵ�����������ͬ
is rescued, it's disengaged from my 

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�������ϵ�������֪  ������Ҳ
�� the idea that God knows it all and we are going to

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�� we are determined in what we are doing.

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What Dante's saying, 

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by focusing on a time bound metaphor, 

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is that we are engaged in a risky relationship 

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and as in our relationship between God and the soul, 

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there is this element of danger

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That's it, that's the metaphor

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˵�ø�ȷ��һ��  �������ǾͲ���
To make it more precise so you don't 

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�� you know where I'll be going in the days ahead, 

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whenever in antiquity, 

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they would discuss 

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�� mainly Boethius is the most important author 

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Ҳ��˵һ˵�����������ϵ���֪֮��Ĺ�ϵ
�� the relationship between human freedom and God's foreknowledge, 

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they would always present the case to say 

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that God is outside of time, 

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�ϵ�����˵Ҫ��Խʱ��
always says being outside of time

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All times converge in God, 

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and so that God sees all things in the present 

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00:20:21,332 --> 00:20:22,881
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so that should really 

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�ϵ�������
�� God is here, 

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it's a point of view which is transcendent 

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and therefore synoptic 

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����������һ����ʱ��仯������  
and we are in a diachronic world 

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past, present and future, 

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but everything is at the same time 

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We think that we live in a world 

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where we do not know what tomorrow may bring us 

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Whatever decisions we make now have already been 

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�� what kind of consequences, 

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whether they're unpredictable 

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�����������ѱ����ǿ���֮����������
or they have been determined by things that escape our control, 

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but God knows

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And this is the Boethian scheme 

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of harmonizing God's foreknowledge and human freedom

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It doesn't take too much to realize 

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that this is really a little bit of a delusion, 

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00:21:10,623 --> 00:21:14,284
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because either I'm free or am I not free 

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It may be that God knows it all, 

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but it doesn't mean 

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that He wills that I do what I do

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00:21:20,935 --> 00:21:23,545
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He knows but He does not will it, 

116
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����  ��֪����������  �����Լ�ȴ��֪��
and yet, He knows and I'm here and I don't know, 

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00:21:28,077 --> 00:21:33,799
�������Լ������ɻ�����һЩ����
so my own freedom is still a little bit rhetorical

118
00:21:33,799 --> 00:21:36,076
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Dante does it differently

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it's a departure from Boethius 

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The relationship between 

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God's foreknowledge and the souls being in time

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�������й������Լ�������Ϸ������
is one that introduces the question of chance and hazard, 

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and that involves both God and the soul 

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ȷ�е�˵
To be very precise, 

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he doesn't say it here, 

126
00:21:57,946 --> 00:21:59,929
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and that's why I hesitate to get into that 

127
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�������ʫƪ���н�������������ӵ�����
I would like to work with the text to make this very clear 

128
00:22:04,046 --> 00:22:09,174
�����Ǵ����ϵ������������Ѱ��Ĺ�ϵ��
The issue is that in a love relationship between God and the soul, 

129
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we are always at risk

130
00:22:12,746 --> 00:22:15,772
��������ܰ��龭����һԭ��
If you accept the principle of a love economy, 

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����ͳ������
regulating the universe, 

132
00:22:17,202 --> 00:22:19,548
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which Dante does, certainly does, 

133
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then you understand this notion of hazard in 

134
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�� not as a principle of 

135
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just chance in the sense of casual blind randomness,

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but in the sense of this risk 

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00:22:39,557 --> 00:22:41,310
��������ð�յ�Ԫ��
�� proposition risk element

138
00:22:41,310 --> 00:22:43,933
��һ�½������Ĳ���
Then the canto goes on 

139
00:22:43,933 --> 00:22:45,861
������صı���Ҳ��������ȥ
�� this particular metaphor goes on 

140
00:22:45,861 --> 00:22:49,562
��������λʫ�˵ļ����չ����
with another meeting between two poets 

141
00:22:49,563 --> 00:22:50,850
��ô��
Yes?

142
00:22:50,850 --> 00:22:52,670
ѧ��  ��˵�İ��龭����ָʲô
Student: What do you mean by love economy?

143
00:22:52,670 --> 00:22:56,179
����  ���龭��
Professor Giuseppe Mazzotta  The economy of love 

144
00:22:56,180 --> 00:22:56,764
��������
�� the question 

145
00:22:56,764 --> 00:23:01,648
��ϣ����˵�����龭����ʲô��˼��?
�� the clarification is what do I mean by the love economy? 

146
00:23:01,649 --> 00:23:05,341
����������  �ǰ�������
Dante's universe, it's a universe of love 

147
00:23:05,342 --> 00:23:07,669
��Ҳ�Ǵ�������ν��е�
and that's how creation takes place, 

148
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������ָ������Ĵ����Լ�����Ĵ���
the creation of the universe and the creation of human beings 

149
00:23:10,309 --> 00:23:13,649
���������  ���Ǵ���
So we are �� the involvement that we 

150
00:23:13,650 --> 00:23:17,886
ÿһ�����ϵ�ͬ�е���궼�ǰ���һ����
�� every soul has with God is one of love 

151
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����������֮������ֹ�ϵ
Just as in the relationship between say, 

152
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�������ں͵���  ���ǵİ�������ð��Ԫ�ص�
Beatrice and Dante, there is an element of risk in loving 

153
00:23:24,341 --> 00:23:26,580
���е�ð����ʲô��?
What is that risk in loving? 

154
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�ҿ����뵽�ܶ����
I can think of several 

155
00:23:27,829 --> 00:23:31,302
����Ϊ���ǵĳɳ�����Ϊ��������
I think we are all grown ups to understand that, 

156
00:23:31,302 --> 00:23:34,892
һ���˰�����һ�� һ���˿���δ���еõ��ر�
one loves and one may not be reciprocated in love 

157
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������շǳ���
That's a pretty bad risk 

158
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��Ȼ�Խ��д�����ϵ�Ҳ�з��� ��Ҳ���ܲ�����
Certainly, it's a risk of God who creates and may not be loved, 

159
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����Ƿ����Ĺ���
which is the story of what disobedience is,

160
00:23:42,757 --> 00:23:46,683
��ȻҲ�Ǵ����������еľ���
and certainly is the existential experience of human beings 

161
00:23:46,683 --> 00:23:48,117
����ĳ����ǣ��
to be involved with someone

162
00:23:48,117 --> 00:23:51,081
����Ҫ�ǰ��Ŵ������
Either we love the wrong person, 

163
00:23:51,082 --> 00:23:53,910
���Ǿ�Ҫ������˵���ǹ�ȥ��������?
then we say wisely I was loving the wrong person? 

164
00:23:53,910 --> 00:23:56,868
����ʵ���ڷ��̴���������˵��
I'm being ironic with that idea of wisdom 

165
00:23:56,868 --> 00:23:59,585
���Ƿ�����ʵ��  ��������һ�ι�ϵ��
or discovering that indeed in every relationship 

166
00:23:59,585 --> 00:24:02,099
ʱ�䶼����Ҫ  �о���֮����
there is time, feelings change, 

167
00:24:02,099 --> 00:24:04,381
�����кܶ෽ʽȥ�������
we have so many ways of thinking about it

168
00:24:04,382 --> 00:24:12,179
��һ��  �����Դ˵Ļش��ǿ�  ��ϲ������
There is a �� Dante's response is look, he likes figures 

169
00:24:12,179 --> 00:24:13,936
����Ӧ��˵˵��һ��
�� we shall talk about this 

170
00:24:13,937 --> 00:24:20,272
������ҹ���������������ĸ�����˹һ��
�� like Francis who goes to pray on the cliffs at night 

171
00:24:20,272 --> 00:24:23,227
��Ϊ����ҪϷ�绯һ������
because he wants to dramatize the idea 

172
00:24:23,227 --> 00:24:29,647
��  ��ʹ�����������������˻����˺�
that even a prayer puts you at risk of being hurt or not being hurt, 

173
00:24:29,647 --> 00:24:31,561
ʧ��
of being disappointed, 

174
00:24:31,561 --> 00:24:35,618
�Լ��������粻������뷨�����ڵ�Σ��֮��
of discovering that the world does not go the way you want it to go, 

175
00:24:35,618 --> 00:24:38,821
����Щ���������ͬʱҲ�ǰ�������
and that which is true in prayer is true in love 

176
00:24:38,822 --> 00:24:40,316
�Ҿ�˵������
That's all I was saying 

177
00:24:40,316 --> 00:24:43,788
����������
I wasn't saying anything more than that

178
00:24:43,788 --> 00:24:47,025
�ھ�������ɫ�ʵĵ�������
In Canto VI also, the political canto, 

179
00:24:47,026 --> 00:24:49,140
Ҳ����λʫ����������д
there is an encounter between two poets

180
00:24:49,140 --> 00:24:55,290
һλ������������ͬ�е�ά����  ������ͼ��
One is Virgil with Sordello, who is a Mantuan poet 

181
00:24:55,290 --> 00:25:00,868
�������ڲ�ͬ������  ������������ͼ��
They all share the same birthplace, Mantua, across the centuries

182
00:25:00,868 --> 00:25:03,809
����������˵���й���ͼ�ǵ�����
They meet and the very idea of Mantua, 

183
00:25:03,809 --> 00:25:06,323
������ά����
they ask Virgil, 

184
00:25:06,323 --> 00:25:07,998
ά������ʼ˵��ͼ��
Virgil starts saying, "Mantua �� " 

185
00:25:07,998 --> 00:25:12,665
����Ϊ  ���������һ��������Ĺ־���й�
clearly playing with a famous epitaph, I think,

186
00:25:12,665 --> 00:25:14,922
������һ��
the line interrupts 

187
00:25:14,922 --> 00:25:19,855
�Ǹ�������Ĺ־����д��  ��ͼ�ǳɾ�������
There it says: "Mantua made me," the famous epitaph written on 

188
00:25:19,855 --> 00:25:24,933
���Ĺ־�������ǲ���˹  ά������˯�ĵط�
�� in Naples where Virgil is buried

189
00:25:24,933 --> 00:25:27,903
��ͼ�ǳɾ�����
Mantua made me 

190
00:25:27,903 --> 00:25:33,830
�ϲ��Ŀ���������  ������뿪����
and the south, Calabria, took me away 

191
00:25:33,831 --> 00:25:37,868
�Ҹ��̡���  ά�����ڰ���������д��  
I sang the arms,  the Aeneid, 

192
00:25:37,868 --> 00:25:40,118
��԰ʫ��д��  ��Щ��Ⱥ
the herds, the Georgics, 

193
00:25:40,118 --> 00:25:42,694
������Щ�й����˵Ĺ���  ��Щ��Ұ
and the story about the Bucolics, the fields 

194
00:25:42,694 --> 00:25:45,718
����  ��������������������һ��
It's just �� in two lines the account of his whole life 

195
00:25:45,718 --> 00:25:47,240
������˵  ��ͼ��
So he starts saying, Mantua

196
00:25:47,240 --> 00:25:49,553
����Ϊ�Ҽ�ӵ��ᵽ�˳�����
I think I'm alluding to this birthplace 

197
00:25:49,553 --> 00:25:50,800
��ǿ��һ��  ����
�� once again the birth 

198
00:25:50,800 --> 00:25:54,540
���ᵽ����������  ��ӵ��ά����
�� and Sordello and he embrace 

199
00:25:54,540 --> 00:25:57,349
���ӵ��  ���������������
This embrace, this existential encounter, 

200
00:25:57,349 --> 00:25:59,682
�Ǹ�������ʵ���ڵ�ʱ��
this other little moment which is insubstantial, 

201
00:25:59,682 --> 00:26:00,878
��Ϊ�����޷��������໥ӵ��
because they can't really embrace 

202
00:26:00,878 --> 00:26:01,826
�������������  
They're spirits, 

203
00:26:01,826 --> 00:26:03,848
�Ǽ�������ϰ�������ڶ����еĿ�������
another failure after the one 

204
00:26:03,848 --> 00:26:11,886
��һ��ȱ��
that we saw with Casella in Canto II of Purgatorio

205
00:26:11,886 --> 00:26:16,687
�������˵��������η������������������
That triggers Dante's political invective against Italy 

206
00:26:16,687 --> 00:26:18,409
��һʱ��
It's the moment of 

207
00:26:18,410 --> 00:26:19,777
�һ���ԵĶ�һ��
�� which I will read very briefly

208
00:26:19,777 --> 00:26:24,456
�ҵ���˼���Ҳ������  ������һ�����
I mean I will not read the whole thing but it's an invective

209
00:26:24,457 --> 00:26:28,850
������Ϊ�����������ʶ��һ��
�� the kind of civic sense of responsibility.

210
00:26:28,850 --> 00:26:33,723
��  ��ͼ����  ���ǵ����µĵ���ʮ����
O Mantuan   This is line 75 of Canto VI

211
00:26:33,723 --> 00:26:36,396
����͵���ʦ��ʼ˵  ��ͼ��
And the gentle leader began, Mantua 

212
00:26:36,396 --> 00:26:39,594
�����ڹ¼���Ԩ������  һ��������������
and the shade who had been all rapt within himself, 

213
00:26:39,594 --> 00:26:41,756
��Ȼ������
sprang toward him from the place where he was, 

214
00:26:41,757 --> 00:26:45,381
˵  �� ��ͼ���� ������������ ���ͬ��
Saying  O Mantuan, I am Sordello of thy city 

215
00:26:45,381 --> 00:26:47,021
����һλ������˹��ʫ��
He's a Proven?al poet, 

216
00:26:47,021 --> 00:26:52,381
����������˹����  ȴ������ͼ��
but he wrote in Proven?al and from Mantua

217
00:26:52,382 --> 00:26:55,004
�����໥ӵ��
the one embraced the other 

218
00:26:55,005 --> 00:26:58,321
������Щ�ʾ�  ����Ϊ��������Ĳ���˲���
Look at this phrase, which is extraordinary because in Italian, 

219
00:26:58,321 --> 00:26:59,535
�����Ҿ������ܶ�������
now I feel that I can read 

220
00:26:59,535 --> 00:27:03,618
лл�������  �������������Ķ��������
�� thanks to Margaret I can read Italian as freely as I care, 

221
00:27:03,618 --> 00:27:07,508
�����໥ӵ��
e l'un e l'altro abbracciava

222
00:27:07,508 --> 00:27:10,727
�Һܿ�ͻ�Դ˽��н���
I'll return to this construction in a moment, 

223
00:27:10,728 --> 00:27:12,696
�����໥ӵ��
the one embraced the other 

224
00:27:12,697 --> 00:27:18,224
����һ�������໥�Ե�˵��
It's a phrase of reciprocity 

225
00:27:18,224 --> 00:27:19,452
�����໥ӵ��
�� one embraced the other 

226
00:27:19,452 --> 00:27:23,715
��Խʱ������ڵ��໥��ϲ��֮��
�� the reciprocity of affections across time

227
00:27:23,715 --> 00:27:29,156
������ʼ�����Ǿ��˵�����
Dante begins his incredible vituperation, 

228
00:27:29,156 --> 00:27:34,176
��ʼ�˶Ա�ū�۵�������Ĺ���  ע��
his attack against enslaved Italy and look

229
00:27:34,176 --> 00:27:37,653
�غ�  ū���������  ʹ���ס��
Ah, Italy enslaved, hostel of misery,

230
00:27:37,653 --> 00:27:38,683
�����кܶ����
a number of metaphors, 

231
00:27:38,683 --> 00:27:42,278
��������û�ж湤��С��
ship without pilot in great tempest, 

232
00:27:42,278 --> 00:27:44,769
�㲻���Ǹ�ʡ��Ů����  ����һ��潼�
no princess among the provinces but a brothel 

233
00:27:44,769 --> 00:27:47,244
����߹�����
So eager was that noble soul, 

234
00:27:47,244 --> 00:27:49,773
һ��������������  ���˷ܶ���
only for the dear name of his city, 

235
00:27:49,773 --> 00:27:52,029
�ڴ˵ػ�ӭ����ͬ��
to give welcome there to its citizen, 

236
00:27:52,029 --> 00:27:54,428
�����ջ����������һ����
and now in thee thy living 

237
00:27:54,428 --> 00:27:56,461
����������ս��������Ʒ
are never free from war 

238
00:27:56,461 --> 00:28:03,443
����ν������ǽ ���ͬ����
and of those who one wall and mote shut in one gnaws at the other

239
00:28:03,443 --> 00:28:09,379
����һ�п���ȥ
Another line that seems to have a sort of 

240
00:28:09,380 --> 00:28:11,980
ڹ�ͳ������໥�������
grim version of the reciprocity

241
00:28:11,997 --> 00:28:14,567
��Щʱ���໥ӵ��
Earlier one embraced the other,

242
00:28:14,567 --> 00:28:16,363
�����Ѿ����໥��ĥ
now one gnaws at the other

243
00:28:16,363 --> 00:28:17,940
����㿴������ĵİ汾
If you look at the Italian, 

244
00:28:17,940 --> 00:28:19,444
��������Щ������
it's really slightly different 

245
00:28:19,444 --> 00:28:20,725
Ӣ�İ汾��û�����ֳ���һ��
The English doesn't give that 

246
00:28:20,725 --> 00:28:21,847
��������뱾û�����ֳ�
�� this translation at least

247
00:28:21,890 --> 00:28:23,311
�ڰ�ʮ����
Line 82, 

248
00:28:23,311 --> 00:28:29,316
�����ջ����������һ����  
in te non stanno sanza guerra li vivi tuoi, 

249
00:28:29,316 --> 00:28:32,020
����������ս��������Ʒ
e l'un l'altro si rode

250
00:28:32,020 --> 00:28:35,956
һ�����з�����ʽ  ��һ��û��
One has a reflexive form, the other one does not, 

251
00:28:35,956 --> 00:28:37,537
�������������������ʱ��
and the moment of violence 

252
00:28:37,537 --> 00:28:41,847
�����ڷ�����ʽ���õ���ҧ�������
Dante uses the verb "si rode" in the reflexive form

253
00:28:41,847 --> 00:28:45,670
�Ӷ�������˵�����ָı�
in order to imply that the exchange is an exchange 

254
00:28:45,670 --> 00:28:47,899
�ǻ���Ȼ������
that it always turns on oneself

255
00:28:47,899 --> 00:28:50,763
һ���˻�Ϊ���Լ���ȥ�˽����
One knows that the other for oneself, 

256
00:28:50,763 --> 00:28:56,072
��˵߸�������������˵��໥����
therefore it reverses and denies the reciprocity, 

257
00:28:56,742 --> 00:29:03,493
�Լ�ǰ��������ӳ�����໥�Ե���Ϊ
the action of reciprocity indicated by the previous phrase

258
00:29:03,493 --> 00:29:08,653
������  �һ�Ҫǿ������ϸ��
I could also emphasize a couple of details here, 

259
00:29:08,653 --> 00:29:12,928
������˵  ��ӭ����ͬ��
where Dante says to give welcome there to its citizen, 

260
00:29:12,928 --> 00:29:16,756
�����ջ����������һ����
and now in thee thy living 

261
00:29:16,654 --> 00:29:17,949
����������ս��������Ʒ
are never free from war 

262
00:29:18,065 --> 00:29:21,211
����Щ����ס������
and of those whom wall and moat shut in 

263
00:29:21,211 --> 00:29:22,090
����һ���ǳ�
It's a very 

264
00:29:22,692 --> 00:29:26,188
����һ��֪��Ⱥ�������
�� you do know that the word for community, 

265
00:29:26,188 --> 00:29:29,950
���Ǿ������õ�
which we always use, community 

266
00:29:29,950 --> 00:29:38,862
�����Դ��������moenia  ��ǽ����˼
it's a word that etymologically comes from the Latin for wall, moenia 

267
00:29:39,021 --> 00:29:42,281
Ⱥ����ζ��  ��Դ����
Community meant, and stems from, 

268
00:29:42,142 --> 00:29:47,869
��ͬ����ǽ �����Լ�ľ׮�ĸ���
a concept from the sharing of walls, houses, piling, 

269
00:29:47,869 --> 00:29:50,579
Ȼ������һ�������½���һ��
and built one on top of the other 

270
00:29:50,579 --> 00:29:52,429
����Ⱥ��ĺ���
That's the idea of a community 

271
00:29:52,429 --> 00:29:56,146
��ͬ����һ�����е�ǽ
The shared walls of the city, 

272
00:29:56,146 --> 00:29:58,066
�����������
which here is now seen as 

273
00:29:59,476 --> 00:30:02,521
���Կ����ǽ�һ������һ���ֿ�
�� viewed as separating one from the other 

274
00:30:03,714 --> 00:30:08,527
�����������ȱ�ٷ��ɺͼ�ͥ��������ȥ
This will continue with the lack of laws and the families, 

275
00:30:08,527 --> 00:30:10,850
���������ŵĺͿ������ص�
including the Montague's and Capulet��s, 

276
00:30:10,850 --> 00:30:12,633
��������Щϲ��ɯʿ���ǵ�����˵
for you Shakespeare lovers, 

277
00:30:12,800 --> 00:30:13,981
�������ᵽ�������˵�����
who are mentioned here, 

278
00:30:13,981 --> 00:30:18,347
Ȼ�󵫶��ڽ�β���ֽ�β
and then Dante ends up with 

279
00:30:19,349 --> 00:30:23,690
��һ�ٶ�ʮ����  תΪ������������
�� on line 125 with a returning to Florence 

280
00:30:23,690 --> 00:30:27,175
�����ԵĴ���һЩ�����ķ���
and a little�� clearly bitter satire

281
00:30:27,175 --> 00:30:31,232
�ҵķ���������  ��������
My Florence thou mayst well be at ease with this digression, 

282
00:30:31,232 --> 00:30:33,395
�ҵ��»��ͷ�����������
I'll come back to this metaphor in a moment, 

283
00:30:33,395 --> 00:30:37,238
������������б���  ��������Щ����
which does not touch thee thanks to thy people who are so resourceful 

284
00:30:37,210 --> 00:30:38,746
����˵���������
Dante talks about Italy 

285
00:30:38,746 --> 00:30:42,974
���������Է�������������ת���˵����ĵ�����
but it turns to Inferno VI with the invocation of Florence

286
00:30:42,974 --> 00:30:49,179
������ʫ�е������ƫ��������
He's calling this poem, this invective, a digression, 

287
00:30:49,179 --> 00:30:52,607
��������˼����  ���ⲿ�ֲ���������ʫ
which literally means that it does not belong in the poem, 

288
00:30:52,356 --> 00:30:56,708
��������������ʫ�������
that Dante is stepping out of the economy of the poem, 

289
00:30:56,708 --> 00:30:58,675
��������������������
and talking in his own voice 

290
00:30:58,675 --> 00:30:59,654
����ƫ�������
It's a digression 

291
00:30:59,654 --> 00:31:01,860
��������ô����ƫ���  ����?
That's what we call a digression, right? 

292
00:31:03,189 --> 00:31:04,359
������һ�ֶ��е�����
You use a particular language 

293
00:31:04,359 --> 00:31:06,981
��������ȴ����������Ҫ��ں�����
that doesn't really belong to the general plot and theme, 

294
00:31:07,613 --> 00:31:11,800
�������ƫ�ⲿ�ֵĺ���ȴʮ������
but then the meaning of this digression is made really clear, 

295
00:31:11,800 --> 00:31:15,566
����  ����˵  ��������Щ����
later, when he says, which does not touch thee

296
00:31:15,566 --> 00:31:17,113
����̰�
How ironic

297
00:31:17,113 --> 00:31:20,444
��Ȼ����˵�ľ����������˼
Of course he's saying literally in this digression, 

298
00:31:21,035 --> 00:31:23,245
��������ĳ���Ҫ�õö�
you are so much better than all these other towns 

299
00:31:23,229 --> 00:31:24,162
����Ƿ���
That's the irony 

300
00:31:24,162 --> 00:31:25,674
�����������������������
Florence is no better, 

301
00:31:25,674 --> 00:31:28,893
�����β廰��û���������������ע��
therefore this digression doesn't really concern you

302
00:31:29,173 --> 00:31:31,891
��һ�㻹����һ�����ⷽʽ
It can also be understood in another way, 

303
00:31:31,891 --> 00:31:35,373
һ�ָ�����  ��Σ�յķ�ʽ
in another more tragic and more sinister way 

304
00:31:35,373 --> 00:31:37,804
��β廰û�д�����
This digression does not touch you 

305
00:31:37,804 --> 00:31:40,506
��Ϊ�ҵ������޷���Ⱦ��
my language will not affect you 

306
00:31:41,663 --> 00:31:43,747
�������ֺ�������ĳ���
The whole statement in all its ambiguity 

307
00:31:43,747 --> 00:31:48,833
��Ϊ��һ�ַ���
becomes one of the reflection 

308
00:31:48,833 --> 00:31:55,942
��ӳ��ʫ�������޷�Ӱ����ʷ��
on the impotence of the poetic language to affect the historical 

309
00:31:56,388 --> 00:32:00,127
��ʷ���ݱ��Լ����е�����
�� the unfolding of history, the ordering of the city 

310
00:32:00,127 --> 00:32:02,232
�·���絫��վ������
It is as if Dante, were, here, 

311
00:32:02,877 --> 00:32:03,777
ʫ�е���������������
that the relationship 

312
00:32:03,777 --> 00:32:07,943
֮������ֹ�ϵ
between the voice of the poet and the political order 

313
00:32:07,943 --> 00:32:12,005
�������ǲ��ɱ����
is one of inevitable rupture 

314
00:32:12,406 --> 00:32:14,428
�������Ÿ���  ���������ı�
Dante tries to improve and change, 

315
00:32:14,428 --> 00:32:16,698
������������ʫƪ��
that's clearly the thrust of the passage, 

316
00:32:16,698 --> 00:32:18,591
Ҳ��������ƶ���
and the thrust of the invective 

317
00:32:18,591 --> 00:32:24,417
ͬʱҲ���ֳ�������ô����������
also declares the powerlessness in his doing so

318
00:32:24,417 --> 00:32:26,311
����ʱ����յķǳ���
We are doing very well with time, 

319
00:32:26,311 --> 00:32:30,635
����ҿ��Զ�һС��
so I have a chance to read a little scene 

320
00:32:30,635 --> 00:32:32,819
�������潲����
Dante moves on talking about 

321
00:32:33,651 --> 00:32:36,689
�����еĵ�һ����Ҫ����������
the first night of Purgatorio will take place 

322
00:32:37,185 --> 00:32:41,986
����������˵�����ӵ�ɽ���б���
and he takes refuge in the so-called Valley of the Princes, 

323
00:32:41,986 --> 00:32:45,881
�����ｫ����дһ���µĻ�԰
where a new garden, another garden is going to be described, 

324
00:32:45,881 --> 00:32:47,041
���ںܶ෽��
which in many ways 

325
00:32:47,583 --> 00:32:53,519
�����˵����������жԵ�����Ե��԰����д
fulfills the garden of Limbo in Canto IV of Inferno 

326
00:32:53,519 --> 00:32:56,696
��������ЩҪ�㲻ͣ���ظ�����
Dante has these motifs that keep reappearing 

327
00:32:56,696 --> 00:33:00,347
����ط�������Խ����Ȼ��
and here it's more than a natural beauty of the place it's 

328
00:33:01,248 --> 00:33:02,745
������������ʯͷ
�� there are precious stones 

329
00:33:02,580 --> 00:33:04,401
��ʾ�ż�ʹ����
implying that though Purgatorio 

330
00:33:04,487 --> 00:33:09,132
��һ������ʱ��������ת��������
is the world of transition for transient souls, 

331
00:33:09,132 --> 00:33:12,619
����Ҳ��һЩ��ò���Ķ���
there is something abiding about this place

332
00:33:12,619 --> 00:33:13,999
��������д��ȥ
Then Dante moves on, 

333
00:33:14,623 --> 00:33:22,603
�����һ����������������һ��
I want to read a paragraph here with the meeting with the princes 

334
00:33:22,603 --> 00:33:25,385
�����һ�µ�һ��
I want to read the first passage 

335
00:33:25,385 --> 00:33:27,762
����һ������
which is the�� an evening song 

336
00:33:28,958 --> 00:33:29,774
������
Dante's 

337
00:33:29,918 --> 00:33:35,910
������Ϊ�Լ����˼�����ʥ
�� Dante the pilgrim now is taken with nostalgia for his hometown. 

338
00:33:35,910 --> 00:33:40,600
���Ƕ�׷��Ĳΰ�
It is the pilgrimage of desire, 

339
00:33:40,600 --> 00:33:44,897
���������ʫ  ����֮ʫ  ���ϵ۵Ŀ���
which is the poem, the poem of desire, desire for God, 

340
00:33:44,897 --> 00:33:46,116
�ԱȰ�����˹����
desire for Beatrice, 

341
00:33:46,116 --> 00:33:49,484
���ڶ���Ϊ�԰��ݵĿ���
now turns into the desire for the comfort 

342
00:33:49,484 --> 00:33:53,117
�Լ������Ѿ�ʧȥ�ļҵıӻ��Ŀ���
and the shelter of the home he had lost

343
00:33:53,238 --> 00:33:55,286
��һ����һ��
Listen to this passage, 

344
00:33:55,286 --> 00:33:56,872
������������д����ʽ
it's written in many ways in 

345
00:33:56,872 --> 00:34:00,973
������˼���������˹ʫ�������м����ֳ���
�� along the lines of Proven?al poetry of nostalgia

346
00:34:01,879 --> 00:34:04,714
����ʱ��  ע������г��
Listen to the assonances as you 

347
00:34:04,714 --> 00:34:07,110
�ڰ��µ�ǰ��  ����
�� the first six, seven lines of Canto VIII, 

348
00:34:08,799 --> 00:34:09,508
ע������г��
listen to the assonances 

349
00:34:09,508 --> 00:34:11,877
�Ҳ������ָ��
the chiastic structures of the sounds 

350
00:34:11,877 --> 00:34:13,757
��Щ���Ľ����ṹ
of which I'm not going to point out to you, 

351
00:34:13,757 --> 00:34:14,904
���ǿ����Լ��ҵ�
you can do that on your own

352
00:34:16,210 --> 00:34:20,653
��ʱ���Ǻ�����
Era gi�� l'ora che volge il disio 

353
00:34:20,653 --> 00:34:23,959
����������ʱ��
ai navicanti e 'ntenerisce il core 

354
00:34:23,959 --> 00:34:27,802
������  ���Ǻ����׺��Ѹ��
lo d�� c'han detto ai dolci amici addio

355
00:34:27,802 --> 00:34:30,074
��ʱҲ���ǳ�����;�����
e che lo novo peregrin d'amore 

356
00:34:30,074 --> 00:34:33,371
Զ������  ����б��
punge, se ode squilla di lontano 

357
00:34:33,371 --> 00:34:36,115
������˹����ʱ��
che paia il giorno pianger che si more

358
00:34:36,115 --> 00:34:38,735
��ʱ�ҿ�ʼ�����ҵ�����
quand' io incominciai a render vano 

359
00:34:38,735 --> 00:34:41,853
ע�������������һ��
l'udire e a mirare una de l'alme 

360
00:34:41,853 --> 00:34:46,453
����һ������  Ҫ���������
surta, che l'ascoltar chiedea con mano

361
00:34:46,453 --> 00:34:49,192
������Ϊֹ  ������Ҳ������
Then here, I'm not going to be able to read it, 

362
00:34:49,192 --> 00:34:50,915
���Ǹ�������Ӧ����ζ�����ʫ
but to tell you how the poem should be read, 

363
00:34:50,915 --> 00:34:53,216
Ȼ����������������ʫ  һ�������͵�����ʫ
then they go and hear a hymn, a medieval hymn, 

364
00:34:53,216 --> 00:34:57,383
ʥ���µġ���  ��������Ժ���ʱ��Ļ�
Te lucis ante terminum, which, if we really had the time, 

365
00:34:57,383 --> 00:35:01,099
�һ����ƪ�����ĵ�����ʫ����  ��Ϊ����
I would come to class with the whole Latin hymn because we 

366
00:35:01,099 --> 00:35:03,258
����ֻ˵��ǰ������
�� Dante gives only the first three words 

367
00:35:03,258 --> 00:35:05,397
������  ����Ӧ������
but clearly we are supposed to hear 

368
00:35:05,397 --> 00:35:08,944
һ���й����ҹ����Σ��
the whole thing about the dangers of the night, 

369
00:35:09,661 --> 00:35:13,453
������������ҹ���������ǵĸо�
the sense that the night is fraught with phantasms 

370
00:35:13,453 --> 00:35:15,796
�Լ����ǻ�Ӱ��
and that they will intrude on 

371
00:35:16,468 --> 00:35:20,388
�Ը�����������������ί��Ȩ��
the powers of judgments of the various souls, 

372
00:35:20,388 --> 00:35:21,890
Ҳ�������������
Dante's own included




