Série: A DIVINA COMÉDIA I - O INFERNO de DANTE - Prof. Renata Peluso

The idea of ​​today is to talk about Dante's work, The Divine Comedy, talk about the part of the inferno and the part of purgatory, the paradise, in another lecture. So next month we will continue to talk about Divine Comedy to be able to finish these three worlds. So I'm going to make an introduction and let's all enter hell, which is a place that is interestingly well known, literally and individually speaking, hell is a place that we know a lot. I set up the lecture thinking about people who have not read, who have no contact and

who want to know, because we hear a lot of talk and then even take the courage to read, then I turn to you and say, if you ask me, look what a nice edition. Divine Comedy in Italian, in Portuguese, a fabulous introduction and the drawings of Botticelli. So it's all... I was illustrated with Botticelli, a lot of good people illustrated Divine Comedy. I used Dorei's illustrations in the lecture, which is the same one we used in Don Quixote, when we did it here too, I used him. Dalí did a lot of things too. So we

have a lot of people doing the illustrations. The introduction of this book is very interesting, very cool, you know? The texts I put, I took from this edition, which is in prose, right? It is not in verse. The ones that are in quotes, right? Here in the slides, are texts that I took from this translation. Obviously, if you take another translation, it changes a little, but the idea and the poetry, everyone who translates tries to preserve as much as possible, right? And why do we talk about these works within a school of philosophy? First, the

idea is not to speak for literati, right? It's not a literary language, of people who study letters and such. Why? Because we want to suggest, facilitate a contact of us with classical works. We are very interested in understanding history, understand the values that predominated at a time, and classics, they are classics for good reasons, right? They do not become classics. They are not classics for nothing. They always have a depth that makes them become classics. And this is very interesting to philosophy. The philosophy of New Acropolis, it tries to seek this timeless aspect, and many

works, right? In addition to the philosophical ones that we study in the course, right? Works like this one that we are going to see today. There is a lot, besides what we see it in the course, right? In the history part of philosophy too. So it has many aspects, that help us to understand the human being. So the vision of a very special person, right? So, with a great breadth, a very deep, and that speaks of human nature, in several stages. And that interests us a lot. So the idea is not just the general culture,

just like the idea is not just history. The idea is to perceive how human beings, at all times, are looking for similar things, and sometimes finding things, similar, right? We think our era, our civilization, so different and special, but when you see the human being, he has transcendent, philosophical needs, that pass time, and pass civilizations. So this philosophical questioning, that today leads us to seek philosophy, leads us to sign up for a proposal of practical philosophy, like New Acropolis, and to realize that there is in history. So our idea is this. I'm going to make

the introduction, and then we'll get into hell, okay? Don't worry, it's all planned. Talk a little bit about Dante, a little bit about his life story, so that we understand. I'm not going to go into much political details, although when you walk through the hell of Dante, you find several. Right? He took all his political enemies and threw them into hell. And by the way, they weren't few. Hell is a place full of people. And many Dante knows. Dante walks through hell, calling people by name. Then you say, oh my God, how many acquaintances. If

I had this power, I would have done the same. And why did he have so many people? Obviously, later in the Purgatory, in the Paradise, many acquaintances also appear. The time that Dante lives, which is 1256-1321, is a time when Italy is in a constant war. The cities, Florence, all the cities near Ravenna and everything, including where he was born and where he died, they are in a constant, very stable war. Political groups that enter, take power, send people away, kill others. And everything is very unstable. Right? And Dante lives this and he gets involved

with politics. He is a person concerned with society, concerned with the state he is living in. And during the work we see this several times. He praising some cities, speaking ill of others. It is precisely this political context that is not where I will focus. All right? I will focus more on the more transcendent aspect of the work. But who analyzes it? Who analyzes it from the political aspect? You understand a lot of the history of that time through the work. You had Italy divided into the Guelphs and the Ghibellines. And Dante was from the

Guelphs. And after there is this division between whites and blacks, he got into trouble because he was from the whites and his wife, his wife's family, was in the black party. So you can imagine the confusion that was in the politics of the time. When we talk about the work itself, a figure will always appear, which is Beatrice. Is there anyone here called Beatrice? Oh, you saw? The inspiratory muse of Dante. Very good. People keep asking if she existed or did not exist. There are people who think she existed, so much so that they say

she is buried in front of the house, which was Dante's house. She would be buried in front with a name and surname. Now it is interesting because this meeting of Dante with his soul, his inspiration, happens in a work that he himself writes, the previous Divine Comedy, where he says he meets Beatrice at nine years old. Then he looks and says, my God, it's over. And then, when he is 18 years old, then it's over, she passes again. Then what do you see? Can it be that she exists? It can be. But it can also

be that she, it can be that she became a symbol. At age, we will see that Dante's work is very influenced by number three, for all ages. So when you say, you met her at nine years old, then he comes to 18. Divine Comedy has 100 songs, divided into 33, 33 and 33. People say, but hell has 34. But in the first song he has not yet entered. The introduction. So he has this kind of symbolic thing because of the Blessed Trinity itself, the symbol of the divine. And he works a lot with this idea.

And Beatrice is a very interesting name, because this trix, Beatrice, the trix, the end of the name, it comes as an idea of, Beatrice comes as an idea of donation. So it's the one who gives beatitude. Beatrice. Just like the Matrix, it is the Great Mother who gives life. Of the movie. Who has not seen the movie has to see it. So you have a symbolic association with the name too. That she is the great donor of bonanza, of generosity, of beatitude, that will take him later. To paradise. So we can discuss a lot if

she existed or not. For us she exists to this day. Right? Because she is a symbol that is alive until today. So in some dimension Beatrice really not only existed as it exists. Ok? And Dante with his political visions and everything, and all the problematic that he is, he lives at the end of his life, he is isolated. His party loses, he is forced to live the last moments of his life outside Florence. And that's very bad. You can't go back. You don't want to go back to your country. I understand. Now if you want

to go back and not be able to, you don't come to Brasilia, otherwise we kill you. It's a nice thing, right? So he is threatened, he can't go back. And he goes to various cities. And at the end of his life Ravenna receives him. And where does he die? Right? Great honors to him. Precisely because in life the work had already been considered a spectacular work. So he is already recognized in life. Which is something that doesn't always happen. How many people died unknown and only went to see fame and everything later. He saw his

work being published, being worked on and everything. And then the work is written, including most of the work, I'm not 100% sure, but it would have been written precisely in exile. And when we see hell, we understand a lot of studies, and we understand the future because of that. It is no wonder that betrayal is one of the greatest sins. For those who are isolated, it makes all sense. It makes even more sense. So let's go. So, the Divine Comedy is a journey, which according to some lasts seven days, and it starts in 1300, in

the Holy Week. That's why Rafa was talking. If you see, it's not that he says that in the work, right? But you read, and those studies that people do, it starts on Thursday of a Holy Week. So, I'm going to go into hell, get to paradise, there must be an inspiring muse. We are starting on the same day, the lecture today is on the same day that some scholars say Dante would have entered hell. So the work has 100 songs, and it will be written during the Holy Week. It will be written during 17 years.

It's the work of a life, really. And then we have some letters that Dante writes. He says that his goal with the Divine Comedy is to remove those who live in this life from the state of misery and take us to the state of happiness. So the idea is that every human being can do this journey that starts in hell and ends in paradise. That's his idea. The Divine Comedy received the adjective Divine after 30 years, more or less. It was Boccaccio who gave this adjective in the Comedy. Dante wrote the Comedy because the Comedy

starts badly and ends well. The tragedy is the opposite, it starts well and ends badly. So the Comedy, from the beginning, was the Comedy. Because it starts in hell and ends in paradise. It starts badly and ends well. And the tragedy would be the opposite. The term Divine is very good. It speaks of divine things, it is light, it is excellent, it is fantastic. So it is the Divine Comedy. It is an adjective that was not given by Kant, but was given later. And that's what we know. If we talk about comedy, people say, who?

Now, the Divine Comedy is Dante. Who is Dante? I don't know, but he wrote this book. I know that, right? This book was written by him. So here is just a little preview of his life so that we can get to know him a little bit. And then we'll see how he structures it. So the Divine Comedy starts in hell and goes to paradise. There are three worlds. He starts in hell, which is here. Then he goes to purgatory, which is the mountain of purgatory. And then he goes to paradise. Our hell is below Jerusalem.

So when you go there, just look for the entrance, it must be on foot. The idea is that if Jesus came to save the earth, and it's where he was, then the people are just below. It's like he did this geography. But at the time, for Dante, you have people living above, static land, stopped. People live above, and below there is only water and the mountain of purgatory. Right? Which is down here. The mountain of purgatory here. And then after it, paradise. And I'll tell you what he tells at the end, so we can understand

this structure here. He tells at the end of hell how hell came about. Because it says that Satan, the demon, when he, this fallen angel, when he is thrown from heaven, he is thrown with such violence on earth that the earth makes this funnel. It sinks. As if it were a meteor. Then it sinks. And this sinking earth is so much that it mounts the mountain of purgatory on the other side. So he falls from one side, mounts hell, the earth models itself and makes the mountain of purgatory below. So this is the structure of

this world of Dante, where we will go through several circles. So this is the structure of this world of Dante, where we will go through several circles. And meet several people. Here is one of the illustrations that is in this big edition, that I showed you, which is from Botticelli, talking about the circles of hell. So the idea is this. Hell is wide, it has open doors, easy to enter. It's hard to go the other way, but it's easy to enter, the door is huge, there is no difficulty. It's easy to enter, the door is

huge, there is no difficulty. And then it sinks. It sinks, sinks, until you get to the last circle of hell, and it goes down here. So from the ninth circle you have this junction. And here is the representation of Botticelli, and a phrase by Virgilio, who will be the Roman poet, who will lead Dante through this first and second journey. And he will say, Hell is the state of eternal pain and despair of those who die in the wrath of God. So who goes to hell and who goes to purgatory? It's that idea of ​​repentance.

Who regrets it goes to purgatory. Next month we'll see, he'll suffer for the shushu too. But he has the chance of paradise, because purgatory you purify yourself, and you get to paradise. And hell? Hell no. Hell is a place, Dante shows, that you will stay. You can invest, buy land, because that's where you will stay for all eternity, until you see the final judgment. So Dante fills a gap, that you don't have the description of hell. Within the Christian tradition, when you take hell, you see that hell is a place of eternal torment, it is

a fateful place, but there is no description of hell. Who is there? There is no description. So Dante takes this gap and builds it, and says what hell is like. And this description he will make of hell, it defines the Western view of hell. Because the Chinese view of hell has a lot of departments. There are circles, but it's different. In the West, we didn't have a figure, we just knew it was bad. And Dante fills this up and will end up building what you see today in the unconscious of everyone. I think that's why

it's worth understanding the work a little. Because the vision we have of hell, is certainly structured on top of that. Then other people started talking, but Dante makes this initial structure. So who goes to hell? Who did not repent, it's not just those who sinned. Who did not repent will be in hell. So this is a little of what Virgil already talked about, this idea of hell. And in purgatory, who repented and has a chance to reach paradise. Here is just to give us an idea of the nine circles of hell. But he makes a

little joke, because we say nine, wow, it's big, you don't see anything. Because when it goes down, there are parts that he divides again. So when you get to a circle, he divides it into four, in the other he divides it into ten, in the other he divides it into three. So many people think he closed in nine, to give this nine that I told you, this thing of number three. But inside it also increases, it's not just nine. As sins have a specific place, he had to stretch it out. There is too much sin

in the world, and to put everyone in place, it increased. So it's not just nine places, but the nine circles, because they are always related actions. So the work starts with Dante, in a holy week, lost in a dark cell. He is lost there, he doesn't know exactly how he got there. But he says that in the middle of his life, so we believe there, about 30, 35 years, many people put there the crises of the middle age, I think you don't need to get so deep in hell, right? In a middle age crisis. But

people comment that it is precisely as if it were a point where things have to change, where you have to make many decisions. And then the descent to hell, it is a recurring theme. Mythology works a lot with this descent to hell. Why? Because the descent to hell is like if it were self-knowledge. And Dante does that a lot, because we identify with the staff. That's boring, but we identify. And the guys are in hell, so we start questioning some things. So this descent, this idea that you have to get to the deepest, the most

difficult, the hardest, the most suffered, to be able to start walking to some place. The descent to hell always had this idea in mythology that Dante certainly knows, because hell, purgatory, is sometimes full of mythical figures. Look, if you want to understand all the names that he speaks, not only of politicians, but of stories, that you have of ancient mythology, the story of Rome and everything, it's a study that you will become a genius. Because he had a lot of knowledge. And then these figures, he joins them and builds the work. So, certainly, hell also

takes a lot of information, a lot of structures that we have in mythology. And some characters will appear there. So here is the first text. In the middle of this life's path, a dark cell came to me, where I lost myself from the truth. And it sent me. Ah, but how hard it is to talk about this wild jungle, that just remembering it brings me back the fear I felt there. So he's lost in the middle, and he tries to get out of this dark night, of this jungle that he doesn't know how it came.

There are three animals that don't let him continue, return to the true path he's talking about, which are a jaguar, a lion and a wolf. Every time he tries to return, they attack him. So it's like it's a certain moment in life where these things can start to define their destiny. So he tries to return and these animals don't let him. And then some put this symbolism here. The jaguar as lust, the lion as the sober, the violence, the king of the jungle, that lion's idea. And the wolf as the idea of greed. So, in

a way, what is the idea? They are addictions that are taking Dante out of the way. And then Dante will find his master Virgil, who will tell him that he will know the hell to know how you will live life. It's interesting because the idea is not to scare. It's you realizing that the way you live your life has consequences beyond your own life. And that's very interesting, because we don't think much about it anymore. We want to enjoy the moment so much, the present, the present, in such an intense way, that we forget that

things have consequences. In the course of philosophy, when we go to the oriental part, we talk about karma, which is a law of action and reaction. Every action has a reaction. And, in a way, Dante will bring this in a very strong way. You think it's poetic, right? It's beautifully poetic, but it's extremely strong. Because it will show the consequences of what we do in life. So, as he's deviating, he saw himself in this dark jungle at night, and now he's going to go into hell to see what can happen to those who leave the

way. That's why they're going to go into hell now. Are you ready? Are you sure? Let's go to hell. So, he's being attacked, and he turns into a shadow in his direction, and he's scared, and he sees that it's Virgilio. Virgilio is a Roman poet, who was Dante's inspiration. So much so that he says, You are my master and my author, and it was from you that I acquired the style that honors me. So, when he puts Virgilio to be this interpretation of the reason that will now guide him, the reason, the knowledge that is

able to distinguish good from evil, that he represents, he makes this huge tribute and puts Virgilio in the story. It reminded me a lot of what Plato did with Socrates, who puts Socrates as being his main character in several works. So, just so we can have an idea, Virgilio lived from 70 to 19, and was the author of the Aeneas, when we talk about the foundation, the foundation of Rome, which was the Aeneas, which came out of the Trojan War, this is another lecture, right? So he talks about the origin of Rome, and we always

have to remember that Dante is Italian, so the story of Rome is his story. So he makes this tribute there. And then Virgilio, in the story, says to him, There I will be your guide, I will take you to the eternal place where you will hear desperate screams, where you will see the ancient spirits suffering, suffering your second death. And he says, how cool, let's go. Then they go to the door of hell. Can you see how big the door is? The illustrations that are not from Doré, I warn you, they have a name. I

didn't put these ones because they are all from Doré. In this style, they are all from him. Illustrations. So, there is the entrance to hell, this huge door, there is a series of, there is a poem on top, and below a little phrase that most people know. Leave hope, O you who enter. So, hope in the Middle Ages is a very important thing, right? You have hope, because you don't know how the politics will be, you don't know how the mitzvah will be, you don't know much. And you lose hope in the Middle Ages is

a very complicated thing, right? So, this thing of the hopeless, who enters here loses hope too, because they will not leave hell. It is not purgatory, in purgatory you can leave, hell can't. So, you entered here, destiny brought you here, lose hope. You will continue here until the final judgment. So, that's why this strong phrase, to forget, give up, you who are entering hell. And he enters, okay? Because he is with Virgil, he is safe and such, he enters hell. Then there is a room before hell, because it's not just getting there, it's like a

dentist's office, right? You get there, you have a room before hell. And the room before hell, then, has the indecisive, the morons, the people who did not position themselves, they do not enter hell. Because no hell wants to know about them. Seriously, look what he says. This sad condition is that of those whose sad souls live without infamy or honor. I mean, the guy was neither bad nor good. It was that thing that you look like this, and then, he, hummm, oh, oh, oh. It's like that, all your life. So, there is no infamy and

there is no honor. The heavens expelled them, so that they do not diminish with their presence. Because the morons, they diminish. You see? They make things worse. And neither the deep hell receives them, as the rebellious angels receive them, that some glory at least they had. So, at least the rebellious angel, he can enter hell, because he did something, he left a mark, he positioned himself, right? And he puts these bastards, who live, in fact, never went, you see? You see? He is a light person. It's a super quiet reading, like this. Do you want

to sleep? Oh, I had such a tired day. I think I'm going to read Divine Comedy before I go to sleep. Then that's it, right? So, you have to choose well. So, these bastards, who live, in fact, never went, walked naked and were bitten by flies and wasps that were there. From their faces, they irrigated blood, which, mixing tears, flowed to their feet, where they were picked up by ugly worms. I haven't even entered hell yet, you can't imagine, man! Now, look, look, this is Dante's characteristic. What happens? The guy didn't do anything during his

life, right? He didn't do anything, he just stood there. Then, when he comes here, in the ante-salt, what does he have to endure? Wasps and flies, he has no peace. He tries to stop, the fly goes, puff! And he has to move. Why? Because in life he didn't move. So, now he's going to spend the rest of eternity having to move, having to position himself, right? This characteristic of Dante is fascinating, because he can give the image to sin. And that's fascinating in the work, right? So, you can see it, right? The books we identify

with, you write them down there, discreetly, so we can see. Let's go to the next one. Then, Caronte, then, is the boatman who will take people to hell, because this one is in the ante-salt, right? So, Caronte comes and will take the two of them to the first circle of hell. Hell has three rivers, this one is the first one that needs to be crossed. And then you have Caronte, who will be this boatman. We call the river of fear, Acheronte, which is the fear of people who arrived in hell. One of the people who

are entering hell. Then they enter the first circle of hell, the limbo, which are the people who did not know God, the virtuous pagans, people who were good, did not sin, did nothing wrong, but did not know God, were not baptized. So, who was not baptized, is in the first circle, which is the limbo. Nobody will fill a lot of patience, according to Dante. But they will spend eternity without seeing God. This is already a punishment. This is very interesting, because he says that just the fact of you being deprived of the vision of God

is already a punishment. Do you understand? And we, today, are highly deprived of the vision of anything metaphysical. It's like we're in the limbo in life. Why? Because we don't look for the soul, we don't look for the metaphysical. According to him, this is already a punishment. So, in the limbo, there are the virtuous pagans. I'll read it here for us. There was no more mourning, but sighs. It was a pain without martyrdom, felt by children, ladies and men, who wander in the abyss of pain. They did not sin, did not receive baptism, which is

the door of faith and which you believe. It is the faith that Dante believes. For living before Christ, they did not worship God properly. For such omission, no, for malice, we were condemned, condition that makes us insistently want God, without hope that He will listen to us. There is a crowd that is there. Because he gives names, you know? He gives names. So, look who's in the limbo, guys. I'm seriously thinking where I want to stay. Hector, Eneas, Caesar, Socrates, Plato, guys, Plato, Zenon. Saladin, Heraclitus, Tullius, Cicero, Seneca. Then, when I was seeing this lot

of people, I said, guys, I found the photo of the limbo. Put it there, Luciana, the photo of the limbo. Guys, everyone is there, I guarantee you. Because the history of philosophy, he spoke the name of half of the picture. Everyone is in the limbo. So, if you want to know what it is, the people we will find, the people in the limbo are there. Let's go? Then, you get there, in the first circle, so the pagans will stay there. And now that you start the circles, where you will enter according to sin. So, what

is his idea? The worse the sin, the more you stay in hell. And this is determined by Minos, who is the king who made the labyrinth of Minotaurus. So, he was a king who dictated laws, and now in hell, he will also dictate laws. He will say where people will stay, in which circle you go, depending on the sin you had. And he says that, wrapping the snake tail in the body. So, he turns twice, it's the second circle. He turns three times, it's the third. And so it goes to the moon. And then he

will say where you will stay. Then he says, I went down to the second circle, where space narrows, the pain expands and the laments we heard hurt us. So, here is Minos, in his image, telling the person where he has to go. Then I made a joke, like, where is the olive tree? Did you tell us, Luciano? I couldn't take it. I could jump this part and get more short, but I couldn't take it. Here is a painting by Michelangelo, speaking of the final judgment, which he was forced to paint after the ceiling of the

Sistina Chapel. Most people have seen it. People who read Dante have seen it. I went there to see this thing. Where is Minos? Guys, this is even evil. But it's just to show you how one knowledge adds to the other. Look, look, you can see here, look at the little animal here, can you see him here? Right in the corner, with his tail wrapped. The citizen here is going to the second circle of hell. There are two laps he takes. So, this one went to the second circle of hell. Okay, okay. Let's go? He will

now arrive at the Valley of the Luxurious, one of those who sinned for lust, right? Which is a couple, which is well known, right? So, he puts it here, look. How do those who sin for lust live in life? The infernal wind that never ceases to carry the spirits in its redemoinho and still slashes and beats them, bothering them. When they reach the edge of the cliff, they shout, moan and lament, and blaspheme against the divine virtue. I understood then that this was the form of punishment intended for the sinners of the flesh, who submit

reason to desire. We see each other there, right? Whoever is first, keeps the place. Because, look, he's saying that the person's sin is what? It is to submit reason to desire. And I can give a huge list, I'm not going to do that, right? Because the people are invited, we arrived for the first time, and you can't say things like that, right? In a can for the person. We do this all the time. We say, I shouldn't have done such a thing, but no one will see. Oh, I shouldn't have done that. Oh, but everyone

does. What do you do when you put this phrase, oh, but everyone does? I'm putting desire above reason, because my reason knows, I'm justifying, right? Right? Put the next one. Then he meets a couple that is more known, right? Francesco and Paolo. They are in this whirlwind. Are you seeing how interesting the image is? How do we get when we are in love? Isn't it that whirlwind, that emotion, that thing? No, how cool, we ... Notice that it is a whirlwind, notice, right? And that's how he does, they stick together for all eternity. But here

there is still a detail, that I wanted to highlight. Because Francesco and Paolo, for example, they say that it was not their fault. The fault was the book we were reading. We were reading a book of chivalry. It was Lancia, Lord Gwynevere, that thing. And when in the book they give a kiss, then we kissed each other. But the fault is the book. Do you notice a very interesting feature? The person who is reading the book, when he is in hell, he does not assume responsibility for what he does. That's why he doesn't regret it.

That's why he goes to hell. Otherwise, he was in purgatory, at least, with some chance. But he doesn't admit it, he blames others. So here is a very interesting key of moral philosophy. It is one of the subjects we study too. What is it? The first thing we have to do to seek to be ethical and moral, is to assume responsibility for what we do. Any justification makes us unable to claim. So the tip here is that, the next time you try to justify something, to blame someone for a mistake of yours, you think about

the second circle of hell. You imagine that big hill, and you think twice at least. Third circle. The greedy ones. Who was passing McDonald's? Come to the lecture! It's getting dangerous! Guys, nowadays everything is so gourmetized. It's hard, it's very hard. This circle here is pumping. It's full of people there, doing culinary programs, selling sandwiches, anyway. Look how he puts it. I am in the third circle of eternal rain, of the cursed rain, cold and torrential. Always the same in quantity and quality. It never changes. Huge granites, dark water and snow fall through the dark

air, and infect the earth they touch. Is a McDonald's sandwich worth all this? It will be. And for all eternity, still. The dog with three heads, who keeps the door to hell, is a servant. It barks with a dog on top of us, who here will go under the earth. It has claws that lacerate, swell and tear the spirits. The rain makes them howl like dogs, and these poor profaners try to defend themselves, helping each other. When we go to McDonald's, what do you want? You want to change. You say, I'm full, I'm going to

eat a sandwich. Because it's that little homemade food, always the same thing. It's a different thing. When you get to hell, it's all the same. It's all the same. There is no change. That's why he says it's an equal cold rain, in quantity and quality. It's a boredom. Because usually, if you notice, the greedy is running away from boredom. It's a flight. And this boredom, which he flees, in Dante's opinion, he will find here, in the third circle of hell. Right? Oh my God! Then people will say I'm going against. But it's okay. We have

to give names to the birds. Let's go! Fourth circle. Guys, this one I found a mastery. How did he manage to mount the image of this circle? He put together, in the same place of hell, the avarices and the swindlers. They are opposites. Because one does not spend, the cow's hand doesn't want anymore, and the other spends everything. But he says, no, there is no, go, there is no, make a loan. Because I want, I don't know, I want to go to Perinópolis. Let's make a loan at the bank. The guy spends, he's not even

there. But what's interesting, it's the same sin in his head, only they are opposite extremes. But they are the same sin. So they meet in hell. Then he says this sentence here. Divine Justice, who gathered so many sorrows and works, how many here I saw, and why still do not exist for the guilt. He suffers for the people he sees, you know? He feels this pain for the people who are in hell, what they feel, the doubts they have. He is very empathetic, let's say, right? But it's not with everyone, I'll show you. Come on?

So here is an image that is not from Dorei, right? But he shows the two. How does he speak? They were shocked. Look at his description. After running from opposite sides, at the same time, shouting and pushing huge weights with the chest. They hit each other, giving each other a fight, and then retreated, shouting at each other. Why guards? And the other, why waste? So what is the image? You have the bread on one side, the bread on the other side, they fight eternally, because it is the same sin. It is the misuse of the

resource. And what are the two? And what are these stones? It is the weight that that money you used badly does. It is as if this stone were the representation of the weight that your wrong relationship with money has. He transformed the weight that the slave feels into a stone that he has to carry for eternity. See? Light literature. Let's go there, the next one. Here is Dorei, right? Doing the same place illustration. The weights and they pushing this weight. For not knowing how to give or keep, they were stolen from the beautiful world and

placed in this eternal shell, whose description, word can embellish. See then, son, the misreading, see that he is giving moral lessons, the book of Abraham. I see the misreading in relation to the goods that are attributed to fortune, and by which men undress, for not all the gold that there is and has ever been on earth is able to comfort the tired souls that here desire. So, there is no money to calm the person who got into such a situation. And you agree with me that it is easy, right? We fall into these two extremes.

It is misuse. And today we are more to spend too much than to save too much. Most of us are very encouraged to spend without notion, without responsibility. So then we stop in the fourth circle of hell. When you are going to make your savings, open a chain account or borrow, then you remember the fourth circle of hell. To see what will happen. Now, the infamous joke that I made in yesterday's class. Now then, you will discover what happens when you say go to the fifth of hell. Right? Which is the fifth circle of hell

that we will get to now. Which is anger. Right? Infamous joke, badly done. In fact, who goes there, I think it's who's sending it. Because I'm sending another to the fifth of hell is that I'm angry. I'm angry. In the fifth circle, then, are the angry ones. The people who have hatred, who act out of hatred, for anger, for anger. I saw souls sinking in the mud, naked, with a furious air on their faces. They were fighting, not with their hands, but with head, chest and feet, tearing pieces of each other with their teeth. The

person is angry. What is interesting, if you have this image in your head, the next time you are really angry, you will see that it is exactly like this. Internally. Agglomerated in the mud, these souls say, sad we lived in the sweet air, rejoicing in the sun, raising within us obscure boredom. And now we are more in the mud, we are in this black mud. Why? Because you look at the person, you don't know if she's angry. It's a very internal thing. So when they were there, nobody knew if they were angry or not. And

now in hell, they stay with the mud up to the neck, so that nobody sees them. Now we are walking, past the fifth circle, we are walking now towards the deepest parts of hell. Until now it was good, until now it was quiet, right? It wasn't there. Now we are going to start getting heavy. Why? Because he's going to enter the Stige River and the castle of Diti. Diti is another name for the demon. So they will start to enter the area of hell, where the demon really rules. He says here, inside the Stige River,

do you see the scene there? There is the boatman, who is taking the two. And here you have the people, down there, who can't get their heads out of the water. Then he says here, that one who lived was arrogant, we don't remember him, so he is among the furious. Many of those who were great lords on earth, here they are like pigs in the pig pen, receiving more contempt. That is, hell, and the whole area of life after death, the life of the dead, it reveals what people are. Have you ever thought about it?

There is a Tibetan tradition that says that after you die, you are obliged to face your greatest fears, which in life you can't see. Here it is as if he were saying, you will have to face all these things. There is an hour when you can't pretend to be something you are not. And then I have a tip. We spend so much time trying to look like a person that we are not. I think we spent less energy and time improving who we are. Authenticity, coherence, is one of the basic ethical principles that we study.

And I think that we should look at it. When we look at the ethics course that starts on Monday, ethics has as a basis coherence. And what he is saying here is that it is no use hiding your whole life who you are. Then it will appear and you will have to face all the consequences. So what does ethics say? It is better to be than to seem. It gives much less work, even by the way, because it is what gives work in life. Right? Let's continue going down to hell. Can you see this little

hand? It is Dante pinning the people. I took this one as an example and he does this a lot, but it's because this one was too much. I will read and explain. Master, I would like a lot... He meets a friend, right? The one known in hell, one of the furious. Master, I would like to see him snorting in this place, this churume, before we reach the other side. I don't like this guy, I would like to see him like this, sunk, finished. Then Virgil answers, before you see the other side, your desire will be

satisfied. He says, how good you want that. You want him to sink, you will see soon. And that's really what happens. He puts Dali, Filipe, Argenti. Do you remember what he puts in his name? He puts in his name, right? While the irritated Florentine spirit stuck his teeth in himself. Here we leave him, and about that I won't say anything else. That is, I just opened a parenthesis to end his race. But you see that it is by name. He does this several times. Here I left only one, to show you that in the work

he will pick up the enemies and put them by name in hell. Let's continue. Then he arrives at the castle of Diti, which is the castle that will start the descent to the worst part of hell. Why? Because until now people sinned out of ignorance, they had no intention necessarily. Despite the lust, the person betrayed the husband, but it was not like this, I will do it, right? She felt attracted. Now begins the worst part of hell, which is what? The people who have intention. They do it on purpose, and they know what they are

doing. Now the thing gets ugly. There are nine, right? We are in the sixth. The sixth circle, the heretics. Look at the tombs, here is the drawing. The tombs, fuming, hot. Around the tombs there were flames that left everything on fire in a way that not even the art of the most true metal would do. All the pencils were suspended and inside the tombs came out hard laments that seemed to be of miserable and tormented. Here are the heretics and their followers of all the sects. The tombs are more or less hot according to sin.

So they are the people who have moved away from the Christian tradition. They are the people who have moved away from Christ. They opened other lines, they went to other places, they do not believe that there is the soul. The one I like a lot, we are even seeing to do his lecture, who is Epicurus, it seems that he is out there. When I go to set up the lecture, I will look for where he is, to give some tips. But I would be there, because they are people who have distanced others from the idea

of the divine, the divine Christian, the Christian idea of ​​God. In the seventh circle are now the violent. The other one is the heretics, the one who had anger, but he was not necessarily violent. Here the guy is violent. He says there are three types of violence. The seventh cycle has three parts. The first for those who are violent with the neighbor, those who are violent with themselves or with their own goods, and those who are violent against the divinity. He says that those who are against art and nature are automatically going against God. So

they are here together. So who is against God, nature and art are together. Because one is the reflection of the other. And here the image is centaurs, you can see here, they have arrows and people are down here. So if you start to raise your head, you can raise your head according to the sin you did. If it was a sin not so much, raise more. If it was a very bad sin, you have to stay very low. And if you try to raise more than you can, you get an arrow. Then you have to

go down again. Centaurs take care so that you don't take your head off more than you should. This phrase I found wonderful. Capanes is one of the kings who set the tabas. In ancient Greece. He says here, and he is very proud, he doesn't lower his head. He says, you who are wrong, I am the maximum, I did everything, I am courageous, this is nothing. Very proud, very vain. Look at the phrase that Dante writes to him. Capanes, the more proud, the more you are punished. No punishment is as adequate to you as your eternal

wrath. Do you agree that it is so? I heard a phrase once that I thought was great. It was a student who told me. He said, envy is the only poison you take so that the other dies. It's more or less like that. The more pride, the more anger I have, the more I am the one who is harmed. So the more he imposes himself, the worse it gets. So be careful not to be proud of our own defects. Do not be vain of the wrong acts that we do. With this posture. Do you realize

how he gives the tips along that path? The fraudulent. He divides well. The fraudulent are kept by this gerion, which is a mythical being, which is in his image there. I put the description of gerion. Look how he says. Those who are evil are not the image of fraud. He approached, who was the gerion. He had the affection of a just man. So benign was his tess. But from the bust down it was all snake. Isn't that a good description of a fraudulent? You look at his face. Wow, the guy is a saint. From the

waist down, only snake. So that's the idea he puts of fraud. That's precisely why he takes care of the fraudulent. And people, the fraudulents now, millions of levels. There are ten. That's why I say we have to do a course. Because I can't talk about the ten. Malebogue. Bogue is a pit. Male is bad. It's in relation to the bad smell that you start to feel in this point of hell. That was bad, but now it gets worse. And a lot. So much so that it gives the name to the eight pits of this region.

You come back to me? There are ten types of frauds. There are ten types of frauds. So he is very specific. He gives a punishment for each type of fraud. So, in the circle of the fraudulent I took the guesswork. I found the description he makes interesting. The guesswork is to see the future. But he says this is a fraud. You have to see that within Dante's context, within the reality he has, he is deceiving people. And many people are deceiving. He says that this fraud happens as follows. People walked in an inverted way. From

chin to neck. They had their face turned to the side of the kidneys. And that's why they walked backwards. It's like a owl. It's looking back. They are like this because they wanted to see much ahead. And now they look back and walk straight. It's at least funny. You can imagine, right? The person is looking back, and he can't. He can only look back. He wanted to see the future, but now he is walking straight. Another example I took is a well-known one. It is one of the images that most shows this thing of sin

with punishment. He is a guy who generated discord between father and son. And now he lives in hell with his head out of the body to be able to walk. He walks with his head out of the body as if it were a candle. A candle. He holds his head and the head speaks to Dante. And he tells the story. You see how he says that if you separate people, you will spend eternity with the head separated from the body. Or like others who are cut in half and then they join to be cut again.

And for eternity. All of them. Here. All those who meet here have sowed scandals and schisms, so they are split in half. The devil goes after us and sections us with the thread of the sword and then puts us back in this line. Guys, you know who... He doesn't put this name, but this circle is very good for gossip. But isn't it? What does gossip do? We think it's more natural. So I'm just talking. I'm just saying. People have to know. And when people see gossip, it generates a rift in a whole family. It divided

people. And here he says that these people will also be eternally divided by the evil they did. So gossip is also in Dante's hell. Don't be fooled. Let's go. Then his phrase. O divine power, how severe and hard the blows with which you avenge. This is the tip for you not wanting to go to hell. This is terrible. Say, Master, are there more futile people than the inhabitants of Siena? Which is another city. His is Florence. Not even the French are more. It's a maximum finetada. Right? Then we reached the end of hell. The ninth

circle of hell. Now the business is serious. Here he will say that there are the traitors. For a person who is isolated, it makes all sense. The traitors are down there, in the worst part of hell. And here it is interesting because the previous lakes were hot. The sepulchers were hot. This last circle of hell is frozen. It is a river, where people are frozen. It's all frozen. Tears freeze when they cry. So cold, so cold. I'll tell you why it's cold. He separates this part into four parts. Just to give an idea of the

level of general culture that Maudra Densa brings to us. He says there are four types of betrayal. In the first area, here, Cain, who betrays the relatives. Just like Cain, he killed his brother. Cain killed his sister. In Cain, there are those who betray the relatives. A lot of people leaving now. To say, oh my friend, no, my brother, what is this? We have to make the peace now. Antenora is the place of the people who betrayed the homeland. Antenora is the guy who betrayed Troy and put the Trojan horse inside to be able to

bring the army. He betrayed the homeland. He is one of those who are there and gives a name to the place. You see that he takes the people, specific to the story, mythology. Ptolemy, who is from Ptolemy, those who betray the guests. Why? Because precisely Ptolemy, when Julius Caesar arrives in Egypt, Ptolemy will cut the head of Julius Caesar's enemy and take it on the bandage. And he was a guest. He couldn't have done that. So here are the people who are betraying the guests. And Judea is because of Judas, who betrayed Christ. So you

see that everything has a meaning. Everything has a reason, the name, the place, the division. It is very interesting. It is very interesting. And then in Judea, which is the... Oh no, there's this one here. Guys, are you ready? This one I think is worse than finding the demon. Look, they are passing in the cold lake, in this frozen lake, the people there, and he finds a figure here who is Ugolino, who was a count eating the brain. He describes it as if it were in this region where the brain meets the nape. He eats

this part eternally to avenge the archbishop. And what is this part? It's a story. Look at the history of Italy, it's a mess. Power rises, it descends, people leave. And what happens? Ugolino is not a saint, he betrayed everyone and the archbishop was with him. Then the archbishop decides to take power. He puts Ugolino in a tower that became known as the Tower of Hunger. He puts Ugolino in the tower, locks it and throws the key out so he dies of hunger. Until then, it's already bad. But he put together his children and his grandchildren.

He tells Dante that he saw all the children and grandchildren die one by one. Before he died, they said that whoever gave the flesh and gave the body to us, eat our flesh and feed yourself. And he refuses. And now, in eternity, he is so angry, so angry, that he eats the flesh of the one who held them. So, the scene, the description, is really heavy. And what is the conclusion we come to? That hatred, this anger, brings you together with the person for all eternity. It's no use. So they are two people who feed

each other because of the anger they feel. Can you imagine what situation? And then, the whole eternity. This scene is very heavy. Now we can get to the demon. Because after this, we are ready to see the chapter from the beginning. Let's go. Here it is. Lucifer, Dity, Satan, or the god Ebu. We have several names for the host. This guy, when we get to the corner, when it starts to get cold, it's because it's the lake where the wings of the demon hit and freeze everything. So he has his wings hitting, creating three winds

that leave everything around frozen. And why? Because it's the ice, it's the cold of the absence of God's love. Because it's not an idea of evil, right? What is evil? It's the absence of God. So the deeper you get in hell, the further away you are from God, from this love that warms. So the end of hell, where the demon is, is actually cold, not hot. Because there is no hope, no love, no God, absolutely nothing. So the worst punishment is to have to stay in this cold lake. Being cold, you are constantly in the

absence of God. The first ones up there wouldn't get there, but these ones don't have a way. So you can imagine the level of betrayal this people made. And now he's going to describe the demon. He says, each of his mouths, which were three, the gauze of a kneader that made them hurt so much, that soul up there is Judas Iscariot, whose head is inside Lucifer's mouth and his legs out. So he is the greatest traitor of the spirit, he betrayed Christ. So he represents the betrayal of spiritual things. He is in the devil's mouth.

And he has two more mouths. On one side, Tabruthus, who according to Dante doesn't give a damn, who betrayed Julius Caesar. And on the other, Cassius, who is also a traitor to Julius Caesar. So in the spirit one, Judas betrayed the spirit. And in the duality of matter, that Julius Caesar would be the material power, there are also his two greatest traitors being devoured by the demon. Some say that the red head is precisely hatred in opposition to love. And the yellow one would be a kind of indifference to the spirit. And the black one

is ignorance. So you see that everything is in opposition to the divine virtues. Everything he puts in the devil is against the virtues of God. So it is the inverted God. And why does he have three heads? Because he is the inverted triad. The trinity that you will have in heaven and then it will be inverted in the heads of the devil. And then they go away. They go away on the back of the demon. There is a whole description of how they leave hell after facing Lucifer and going through all these trials. And then

they go out on the other side, he describes that they fall here and they go out on the mountain of purgatory. And the vigil continues to take him, which is our next class. Because as you will see, it will not be possible to talk here. I swear I took the last one and I will talk about a lot of things. But it's because it's a lot of detail. Do you see how interesting it is? Why do we study a work like this? Do you notice how it leads us to reflection? How does it lead us

to think about what kind of act? How do I want to lead my life? What do I want to do? How do I want to be remembered? Where do I want to be? The idea is that. Now, what is the problem? Nowadays, many people are led to question themselves, even for works of this type, but they don't have parameters for answers. How am I going to answer an ethical question? How am I going to answer if what I'm doing is good or not? Am I going to hell too? This kind of question, we are not

working on answering it anymore. Because the technical part, the technical education part, it doesn't answer. The person doesn't want to think about the subject. And what New Acropolis does is to call us to think. To give answers to the questions that Dante is asking. How do we live our lives? Where are we going to stay? What happens to us if we act in one way or another? There is a whole tradition of humanity that talks about human behavior. And in the field of philosophy, New Acropolis makes this synthesis. Just to not only ask questions, but

we learn to give answers. And authentic answers. Authentic, ours, not borrowed, not heard, but our conclusions about all these questions that Dante brings. Because we see him describing hell, but do you agree with me that we live this in our daily lives? We don't need to die because passion is a whirlwind, that the traitor is trapped, that the one who sows discord also has something inside him that broke. It is not difficult to realize that deep down we live this state today. All of us. We can also live in paradise, which is in the next.

But the idea is how to give an answer to this. And that's where we invite. Let's study philosophy, because there is a lot of good stuff, as is Divine Comedy, that can help us to give an answer to this. And let's try to answer. It's already difficult to ask. I brought a work that asked many things, that brings many questions. And now I invite you to find answers too. Because the human being has the obligation to give an answer to his own existence. And an authentic answer, not borrowed, so that he can feel fulfilled and

happy. This is the proposal of the New Acropolis. They are all combined.