I WENT TO WASHINGTON DC TO PRAYWritten by Irvin L. Rozier
The Lord uses me as an intercessor to pray for others ministries. By way, over past 18 years, I have ministered at churches, street corners, radio, warehouses, nursing homes, flea markets, private houses and other places, including on steps of Capitol Building in Washington D.C., where I interceded in prayer for our nation. The Lord sent me there, I left on a Thursday, drove all night, arrived on Friday morning. It was 700 miles from my house to White House. The Lord told me to walk down Pennsylvania Avenue to Capitol. It was hot in August, I had on an old straw hat (protected my bald head from sunburn). As soon as I got to steps of Capitol, I saw a woman standing
Dante was told to make HellWritten by Robert Bruce Baird
DANTE: - Dante Alighieri is tour guide of Hell. In fact you could say he is creator of Hell if you did not understand he was directed and encouraged as others were being forced to write and create all manner of graven images and religious icons or treatises to support Hell, Satan and whole dogma of ‘sins and demons’. The Church owned all creative work because such creative things came from God and they were representatives of this God. Nice scam if you can make it work – eh? Here is a little academic insight into how he also was tasked to diminish perception of prior seers and wise people.
“Inferno XX falls into four narrative segments. Lines 1-30 present sin of divination in general terms; lines 31-57 introduce famous diviners of antiquity, each of whom figures in and represents a major classical text: Amphiaraus from Statius' Thebaid, Tiresias from Ovid's Metamorphoses, Arruns from Lucan's Pharsalia, and Manto from Vergil's Aeneid; lines 58-99 encompass digression on Mantova; lines 100-130 contain Dante's query regarding further diviners, and Vergil's response, in which he names Eurypylus from Aeneid and various contemporary practitioners. We note canto's symmetry; general opening and closing sections, each of thirty lines, frame more particularized interior sequences. The seemingly extraneous section on Mantova is thus entirely surrounded and informed by commanding issue of prophecy, an issue which is directly related to canto's highlighting of poets and poetry, to its evocation of classical auctores and to arresting behavior of Vergil. For prophecy is in fact a textual issue; a profeta for Dante is one who foretells, who reads in «magno volume» of God's mind (Par. XV, 50), and deciphers book of future. Because prophecy is therefore essentially a matter of correct and incorrect reading, canto's emphasis on textuality is insistent: from initial terzina, which proclaims in deliberately technical language author's need to make verse and give form to his twentieth canto, to equally technical reference to Aeneid as an «alta tragedìa» in line 113; if this is only locus in poem in which Dante affixes a numerical tag to a canto, it is also a unique definition of Vergil's poem as a text belonging to a specific genre. Moreover, textual awareness of canto's opening lines __ «Di nova pena mi conven far versi / e dar matera al ventesimo canto / de la prima canzon» __ is shared by its final verse: «Sì mi parlava, e andavamo introcque». Here presence of a word, introcque, whose use by Florentines is caricatured in De Vulgari Eloquentia, raises a host of questions about writing and genre, and serves to close canto on same textual key with which it began.