Written by Irvin L. Rozier

The Lord uses me as an intercessor to pray for others ministries. Byrepparttar way, overrepparttar 139994 past 18 years, I have ministered at churches, street corners, radio, warehouses, nursing homes, flea markets, private houses and other places, including onrepparttar 139995 steps ofrepparttar 139996 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 torepparttar 139997 White House. The Lord told me to walk down Pennsylvania Avenue torepparttar 139998 Capitol. It was hot in August, I had on an old straw hat (protected my bald head from sunburn). As soon as I got torepparttar 139999 steps ofrepparttar 140000 Capitol, I saw a woman standing

Dante was told to make Hell

Written by Robert Bruce Baird

DANTE: - Dante Alighieri isrepparttar tour guide of Hell. In fact you could say he isrepparttar 139976 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 andrepparttar 139977 whole dogma of ‘sins and demons’. The Church owned all creative work because such creative things came from God and they wererepparttar 139978 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 diminishrepparttar 139979 perception of prior seers and wise people.

“Inferno XX falls into four narrative segments. Lines 1-30 presentrepparttar 139980 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 encompassrepparttar 139981 digression on Mantova; lines 100-130 contain Dante's query regarding further diviners, and Vergil's response, in which he names Eurypylus fromrepparttar 139982 Aeneid and various contemporary practitioners. We noterepparttar 139983 canto's symmetry;repparttar 139984 general opening and closing sections, each of thirty lines, framerepparttar 139985 more particularized interior sequences. The seemingly extraneous section on Mantova is thus entirely surrounded and informed byrepparttar 139986 commanding issue of prophecy, an issue which is directly related torepparttar 139987 canto's highlighting of poets and poetry, to its evocation ofrepparttar 139988 classical auctores and torepparttar 139989 arresting behavior of Vergil. For prophecy is in fact a textual issue; a profeta for Dante is one who foretells, who reads inrepparttar 139990 «magno volume» of God's mind (Par. XV, 50), and deciphersrepparttar 139991 book ofrepparttar 139992 future. Because prophecy is therefore essentially a matter of correct and incorrect reading,repparttar 139993 canto's emphasis on textuality is insistent: fromrepparttar 139994 initial terzina, which proclaims in deliberately technical languagerepparttar 139995 author's need to make verse and give form to his twentieth canto, torepparttar 139996 equally technical reference torepparttar 139997 Aeneid as an «alta tragedìa» in line 113; if this isrepparttar 139998 only locus inrepparttar 139999 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,repparttar 140000 textual awareness ofrepparttar 140001 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». Hererepparttar 140002 presence of a word, introcque, whose use byrepparttar 140003 Florentines is caricatured inrepparttar 140004 De Vulgari Eloquentia, raises a host of questions about writing and genre, and serves to closerepparttar 140005 canto onrepparttar 140006 same textual key with which it began.

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