#canto viii

[sleepyminty]

Cant wait for don ‘was gifted a loving father’ quixote/sancho acting skill put into test against hong lu’s horrendous family

[the-ancient-comedy]

[pedroam-bang]

Roberto F. Castro - Canto Bight Casino (2017)

[thedetectivesteve]

Detective Reviews #64 - Star Wars: The Last Jedi

[azoosepted]

Canto VII is peak fr fr (Canto VIII will probably make me burst into flames)

Oh canto viii is going to actually kill me I think.

just from the MASSIVE foreshadowing that we’ve had from the intervallos and Canto VII (HONG LU IS BAO YU CONFIRMED!!!!!!!!!!!!!!!) as well as select lines from Canto VI (“[Butlers] are the most loyal people I know.” Hong Lu I see you. You’re talking about Aroma aren’t you. I see you . Don’t think I’m not watching you.) as well as HI JIA XICHUN HIIIIIII!!! canto viii has been set up A LOT. And now that I’ve read DotRC/SotS, the book that Hong Lu is based off of,

all i have to say is

Oh Boy. Time For The Parental Abuse And Dysfunctional Family.

one thing I do wonder though, is how are they going to fit every single character from the book into the Canto? They probably won’t, but even then, which ones will get to show up? In my copy there were SIX FULL PAGES DEDICATED TO JUST CHARACTER NAMES. SIX. FULL. PAGES. I’m not even kidding.

all in all I’m so normal about Canto VII and even Normaler about Canto VIII

[shaylogic]

reading a bit of Dante's Inferno for fanfiction and struck by this part in Level 5 Wrath (Canto VIII):

Think, Reader, if I was discomforted At utterance of the accursed words; For never to return here I believed. 'O my dear Guide, who more than seven times Hast rendered me security, and drawn me From imminent peril that before me stood,Do not desert me,' said I, thus undone; 'And if the going farther be denied us, Let us retrace our steps together swiftly.' And that Lord, who had led me thitherward, Said unto me: 'Fear not; because our passage None can take from us, it by Such is given. But here await me, and thy weary spiritComfort and nourish with a better hope, For in this nether world I will not leave thee.'

[sforzesco]

Dante's Divine Comedy (Inferno, Canto VIII. trans. Robert M. Durling) / 10 December 1513 letter from Machiavelli to Francesco Vettori, trans. Alan Gilbert

[nearer-than-the-eye]

LITTLE SAINT

listen Ahi giustizia di Dio! tante chi stipa nove travaglie e pene quant’ io viddi? e perché nostra colpa sì ne scipa?

"Ah, Justice of God, who heaps up such strange punishment and pain as I saw there? and why do our sins so waste us?" For Santino D'Antonio: John Wick's bitter ex, my most beloved villain, and whose name means sacred or little saint.

___

John Wick 2 may have come out nearly a decade ago, but being a Santino girl is a chronic condition. Cover and track list images are details from Caravaggio's Bacchus, and the epigraph is from Canto VIII of Inferno, translated by Robert and Jean Hollander.

Some extended thoughts about my process and choice of epigraph and cover under the read more!

This playlist mostly started because I was listening to "Young Caesar 2000," said to myself, wow, this would be a great Santino song, and put it alone on a new playlist. From there, for about a year, I'd throw on anything that particularly reminded me of Santino, songs that felt, not like they described him, but that they might narrate part of his inner monologue and feeling. Some John/Santino vibes starting slipping in there (almost inevitably), but I knew I wanted to keep things really closely tied to how Santino understands himself. I narrowed things down, did some ordering for the overall arc and (hopefully) smooth transitions, and here we are!

Essential to my understanding of Santino (and thus this playlist's formation) is NeverwinterThistle's Unholy Union and asuralucier's The Man You Want to Be, both of which you should absolutely run, not walk, to read.

I'll let the tracklist mostly speak for itself, but I hopefully captured Santino's arrogance and the fundamental emptiness and deep insecurity that arrogance covers. I really do think John is something real and true for Santino, in a world full of posturing, but he eventually cannot resist instrumentalizing John, just like everyone else. JW 2 is one of the JW movies most pessimistic about masculinity (if not THE most pessimistic), and the arc of this playlist would certainly be very different without Mitksi's "I'm Your Man." Which is Mitski's most pessimistic song about masculinity! So it all works out.

The title -- The fact that Santino's name means "little saint" has fascinated me since my first cursory google search that delivered this factoid, and I've always kept it in my back pocket when thinking about Santino as a character. He's always the little brother. His petulance and pettiness is so essential to his character, and it's, of course, what makes him such a great foil to John (who imagines himself as a rational actor, but has his matching streak of the petulance). Santino inherits all this splendor, and all he can do is try and claw out more and more. A petty saint, and certainly never a god.

Why Bacchus? -- Well, I was trying to get a good film still for the cover and eventually gave up, so then I went to go find something appropriately aesthetic for a playlist cover. I was going to do a Dutch Golden Age still life bc that's what I'm writing about rn and lushness (and rot) is so essential to Santino, but then I was like. this guy is Italian. SUPER Italian. Who's an Italian with dramatic shadows and lush still lifes? And thus Caravaggio. Bacchus because revelry, excess, beauty, ect....also the invitation of the painting--he's holding out the goblet to you, asking you to join him. But mostly because it's beautiful.

Why Dante? -- I KNEW this bitch had to have an epigraph from Inferno once I realized this was going to be a real playlist. I mean, speaking of pessimism! The Divine Comedy feels so crazy to read as a modern reader bc it's like. yeah all this suffering is God's perfect justice. That guy eating his own shit is part of the divine plan. Which, to me, lines up really well with my read on masculinity in the JW movies--perfect, unchangeable, and committing you to endless suffering.

Alright, let's really get into it. This tercet ("Ah, Justice of God, who heaps up / such strange punishment and pain as I saw there? / and why do our sins so waste us?") come early in Canto 7, as Virgil and Dante (our POV character and protagonist) leave the third circle of Hell, Gluttony, and enter the fourth circle, Avarice and Prodigality ("Why do you squander...Why do you hoard" is probably the most famous quote from this circle). If Santino was to end up anywhere, it would be in one of those two circles, so I enjoy that this is the point in the text Dante asks these two questions!

Speaking of: despite God's perfection, Dante sure loves to question what he sees in hell and then...not resolve those questions in any way. It's interesting to see that "who heaps up / such strange punishment and pain as I saw there?" is a question addressed to the "Justice of God" when. well. the Justice of God is the thing heaping up these strange punishments and pain!

Dante seems unaware of the paradox, here, which has a real resonance for me in the way Santino is just like, well, I HAVE to blow up your house, John! I HAVE to put out a hit on you after you fulfill the marker, John! But to point to the times he acted out of compassion (not calling in John's marker during his retirement) would completely undermine that logic. It says "there are some things more important than power," but if Santino acknowledged that, then he wouldn't be able kill his sister.

Dante can't walk through hell and say with his whole chest, "I don't think it should be like this, actually" and still trust and love God, so he doesn't. Santino can't believe "more power will make me more happy, our culture says so," and also consciously acknowledge that it's the culture under the Table (and his father!!! his god!!!) that has pitted him against his sister his whole life, that has instilled in him values that ultimately leave him empty. So he doesn't! And he dies trapped in that paradox.

And then that second question. "And why do our sins so waste us?" UGH. ugh. Dante. You fucking hit me hard with this one. This is the line that made me choose this tercet. There's so much to Santino, so much beauty, so much divinity--but our sins waste us. All that power is used only in pursuit of more power, and, in the end, he's destroyed by that pursuit. The first two lines of the tercet key into culture and the way we contort our selves to fit into culture, but this last line is just an exclamation of the tragedy. Why? we ask, and nobody answers.

[suzannahnatters]

I Re-Read Tolkien's "Lay of Leithian" For the First Time in Like 15 Years And It's Still My Favourite Poem In the Whole Wide World: Selected Ravings

CANTO I mostly scene setting, but it's so fun to get more worldbuilding details on Doriath. Also this poetry is just gorgeous

CANTO II thou shalt to the moonless mists of hell descend and seek thy Eilinel AUGH

A bunch of details are different in this early version (Gorlim seeking out the Enemy, and being taken to Morgoth not Sauron) but the one that gets me most is Gorlim sneaking away from the phantom without making himself known because he doesn't want her to be hurt T_T

LOTR Orcs are cockneys. Lay of Leithian Orcs have clearly been to university

CANTO III OH HERE'S WHY LUTHIEN HAS SLEEP MAGIC!!!!! Because her mother Melian was associated with Lorien in Valinor, the Vala of dreams and visions, who in Line 439 of the Lay Tolkien calls "the Lord of Sleep"

Okay this is amazing: There after but an hour, him seems, he finds her where she lies and dreams, pale Melian with her dark hair upon a bed of leaves. Beware! There slumber and a sleep is twined! He touched her tresses and his mind was drowned in the forgetful deep, and dark the years rolled o'er his sleep MESS WITH THE ENCHANTRESS AT YOUR PERIL

And now his heart was healed and slain With a new life and with new pain

They enchant each other T_T when he calls "Tinuviel!" there's magic in it

CANTO IV the deathless in his dying shared feels faintly redolent of the Gospel

CANTO V TEXTILE MAGIC Rapunzel joins the list of stories Tolkien looked at, sniffed, and said "I can do better"

CANTO VI We find out why Sauron (here, Thu) is called The Necromancer:

In glamoury that necromancer held his hosts of phantoms and of wandering ghosts, of misbegotten or spell-wronged monsters that about him thronged, working his bidding dark and vile: the werewolves of the Wizard's Isle.

CANTO VII I love SO MUCH the fact that in this version what gives them away to Sauron is the fact that they won't blaspheme the gods and declare Morgoth the king of all earthly kings

CANTO VIII I think it's super important to note that this begins with an absolutely gorgeous passage describing the Bestest Boi, and also there's this beautiful beautiful little Sir Orfeo reference that lives in my head rent free:

Hark! afar in Nargothrond, far over Sirion and beyond, there are dim cries and horns blowing, and barking hounds through the trees going.

Lúthien's meeting with Huan:

Huan alone that she ever met she never in enchantment set nor bound with spells. RIP to you Beren

CANTO IX this whole canto is unbeLIEVably epic, possibly my favourite in the whole Lay, but my favourite part is Sauron hearing the song from the bridge and saying

A! little Lúthien! What brought the foolish fly to web unsought? ee hee hee hee

CANTO X Tolkien just really wants you to know that these guys are Beyond It:

Thereafter never hound was whelped would follow horn of Celegorm or Curufin.

It's interesting that Tolkien at this stage had Beren telling Lúthien to stay in Doriath waiting for his return specifically because Sauron had informed him that Morgoth was keen to capture her. It's like he realised that with all of Lúthien's evident capabilities he needed to give Beren a convincing reason to leave her behind lol

CANTO XI Lúthien catching Beren in the middle of his dramatic farewell will never not crack me up but in this version she tells him off for not putting his trust in her might so weak and then when he asks where's the hound he left to guard her she tells him how much wiser and kinder Huan is than him at which point Beren demands to know why she doesn't just marry the dog

The description of them putting on the werewolf and vampire disguises, and their journey to the gates of Thangorodrim, is fanTAStically creepy and epic and also, I'm surprised to note, HIGHLY reminiscent of the hobbits' trek into Mordor.

CANTO XII this bit about how Carcharoth has not yet come

disastrous, ravening, from the gates of Angband

has STRONG Voluspa echoes -

Loud bays Garm before Gaping-Hel; the bond shall be broken, the Wolf run free

CANTO XIII I love these descriptions of Angband (even Morgoth has tree themed decor) and I love EVEN MORE the fact that when Lúthien flies into the hall a Dark Lord, all his Balrogs and a ton of werewolves suddenly feel the Valar walking over their graves -

A nameless doubt, a shapeless fear had entered in their caverns drear, and grew, and towered above them cowed, hearing in heart the trumpets loud of gods forgotten.

She stood revealed in hell. (chewing glass)

CANTO XIV (fragment) I am going to haunt Tolkien in the afterlife for leaving it off here.

[throughpatchesofviolet]

I did suspect that Daiyu would be a love interest ... I'm almost certain we'll see her in Canto VIII, now.

[cilil]

Me when I'm forced to go outside

Wrath and Hate and warriors ten, so we are called, and dark our den under the mountains. Over the waste we march on an errand of need and hast. (Lay of Leithian, Canto VIII)

[anonspiceart]

Inferno, Canto VIII, The Wrathful

Extremely Serious recreation of one of Giovanni Stradano's many pieces on Dante's Inferno, seeing as Polar did a recreation of Dante and Virgil in hell using Rancor and Thistle lmao

Thistle belongs to @polarwooly

(Art from December 2022)

[warrioreowynofrohan]

YES, we’re finally up to one of my favourite sections of Marmion, and the point where we realize what kind of a story we’re in, and where the setup about 1) Marmion’s attractive page, 2) Marmion’s duel with de Wilton, and 3) Clara’s lost lover and unwanted suitor, finally pay off.

Our girl-who-was-bricked-up-in-the-wall is Constance; she was Marmion’s ‘page-boy’, a nun whom he convinced to leave her convent and become his paramour, and whom he then turned and abandoned to pursue Clara in order to gain Clara’s property.

King Henry VIII (never the most scrupulous abour marriages, though all that’s still a couple decades in the future as of the setting of this poem) approved Marmion marrying Clara, despite her being unwilling and having another man she was in love with. De Wilton, the man she loved, opposed Marmion; Marmion accused him of treason, they fought in a trial by combat, and de Wilton lost despite being innocent. This led Clara to flee to the convent - and Constance to try to kill her out if jealousy, the crime for which she has now been captured. The packet Constance hands over to her judges tells how de Wilton is innocent, and how Marmion framed him.

In short - our title character is not the perfect knight that the first canto framed him as being; he is a villain protagonist.

This is another place where I feel the poem’s ambivalence towards its medieval (technically early modern, but the events and mores are medieval) setting comes in. Looking like a perfect knight, and being a skilled and brave warrior, is not the same as being a good person! Trial by combat is a measure of skill and luck, not of innocent or guilt! Chivalry is supposed to protect the weak, but in fact those in positions of weakness and vulnerability, especially women, are especially without defence against a man who has connections and shows the right facade. Under all the armour and heraldry and pageanty is something ugly. And the church, too, does not represent mercy or redemption, but a pitiless punishment that falls upon the weak while the strong go free.

All of the poetry in this section is amazing, I love Constance’s entire speech. The combination prophecy and curse that she ends with predicts the coming English Reformation that begins a couple decades after the time in which the poem is set, and marks (perhaps for a mix of good and ill, in the mind of the author) the final end of the world the poem depicts.

“Yet dread me, from my living tomb,

Ye vassal slaves of bloody Rome!

If Marmion’s late remorse should wake,

Full soon such vengeance will he take,

That you shall wish the fiery Dane

Had rather been your guest again.

Behind, a darker hour ascends!

The altars quake, the crosier bends,

The ire of a despotic king

Rides forth upon destruction’s wing;

Then shall these vaults, so strong and deep,

Burst open to the sea-winds’ sweep;

Some traveller then shall find my bones

Whitening amid disjointed stones,

And, ignorant of priests’ cruelty,

Marvel such relics here should be.”

[silkenedstars]

‧₊˚✿Limbus Company Masterlist✿˚₊‧

✿❀ Click on the ♡ next to the character's name to see their masterlist.

₊✦ ‧₊˚ - — ✿❀✿ — - ˚₊‧ ✦₊

Sinners ╰┈➤ Yi Sang ╰┈➤ Faust ╰┈➤ Don Quixote ╰┈➤ Ryoshu ╰┈➤ Meursault ╰┈➤ Hong Lu ╰┈➤ Heathcliff ╰┈➤ Ishmael ╰┈➤ Rodion ╰┈➤ Sinclair (♡) ╰┈➤ Outis (♡) ╰┈➤ Gregor

— ✿❀✿ —

Bus Staff ╰┈➤ Dante ╰┈➤ Vergilius ╰┈➤ LCCB ╰┈➤ LCCA ╰┈➤ LCD

— ✿❀✿ —

Side Characters ╰┈➤ Canto I | The Outcast ╰┈➤ Canto II | The Unloving ╰┈➤ Canto III | The Unconfronting ╰┈➤ Canto IV | The Unchanging ╰┈➤ Canto V | The Evil Defining ╰┈➤ Canto VI | The Heartbreaking ╰┈➤ Canto VII | The Dream Ending ╰┈➤ Canto VIII | ???

₊✦ ‧₊˚ - — ✿❀✿ — - ˚₊‧ ✦₊

[mist-and-rain]

i need canto VIII to be real i need my wife

[lexemar]

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ㅤㅤㅤㅤㅤㅤㅤ V/VIII

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Este campo rubí blanquecí.

Mi apreciada roca es más,

Pues canto insistí en el dormir.

Tu brillo yace de todos modos

Aunque tú y yo no nos veamos,

Pues Dios yace entre nosotros.

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ㅤㅤㅤSegunda Edición. ✪

ㅤㅤㅤPrimera Edición: 2022

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