For a reading that takes issue with Singleton and sees that the 'loser' is undoubtedly Virgil (if without citing his predecessors in this precise understanding), see John Kleiner (“On Failing One's Teachers: Dante, Virgil, and the Ironies of Instruction,” in Sparks and Seeds: Medieval Literature and Its Afterlife, ed. 331-41, while properly rejecting this argument, goes on to insist on an unlikely solution: the loser is the city of Florence. Maria Picchio Simonelli (“Il giuoco della zara e i mali d'Italia: lettura del canto VI del Purgatorio,” in Studi in memoria di Giorgio Varanini. on these verses): the simile is produced 'as a piece unto itself, with but slight regard for the context'). Reviewing the commentators, we are able to witness centuries of avoidance behavior as each struggles to preserve his innocence (e.g., Momigliano, comm. One commentator (Singleton to VI.2) offers the following pronouncement: 'This figure of the loser, though serving to make the whole scene more graphic, finds no correspondence in the second term of the simile.' He is in part correct: both Dante and the crowd of petitioners do correspond to figures within the simile (winner and the crowd of spectators, respectively) that the reference to Virgil is suppressed, inviting the reader to supply it, makes it all the more telling. Yet it is hard to see how Dante can be both winner (to whom he is explicitly compared) and loser. It was only in 1968 that any commentator tried to find a counterpart for the 'loser' Giacalone thinks he may correspond to Dante, because of the poet's many troubles at the hands of his enemies. That so reasonable an interpretation took six and a half centuries to be developed is a mark of the continuing obstinately rosy view of Virgil and of his role in the poem among its interpreters. 31, from an as yet unpublished earlier version (completed in 1983), deploys the argument that the figure of the loser within the simile equates with that of Virgil outside it. 113-16, discussing this opening simile, citing Hollander (“ Purgatorio II: The New Song and the Old,” Lectura Dantis 6 ), p. I was close.ok not really.Margherita Frankel (“La similitudine della zara ed il rapporto fra Dante e Virgilio nell'Antepurgatorio,” in Studi Americani su Dante, ed. I'll add it to the poll next time, but right now we're going to jump right into Control!Īnother file for the Latin phrase. White flash, explosion, many, many, splashes. ![]() We'll probably find out exactly what it means at the end. Desine fata deum flecti sperare precando.Ĭease to think that the decrees of the gods can be changed by prayers. Junpei just grunts and strains against the collar without bothering to say anything. ![]() C-Team.Īs such, according to the rules, C-Team will be executed. ![]() They don't mention it, but C-Team appears to be in the Infirmary here.Īnd now for the voting results. The next thing we see.Ĭarlos's eyes open, and the camera looks away while he stands up. Phi still has her hand to her chin, too.ĭ-Team gets knocked out. Instead of a direct look at the camera, we see Diana from above, looking down at her folded hands. The final reaction shot is also different. Sigma's reaction shot is the same, but Phi is still in her thoughtful pose (instead of a neutral one). It's almost like some external force just took over her hand and made her do it.ĭon't worry about it, it's one of those things that just had to happen. Sorry Carlos and friends, but you've got to go. Otherwise our D-Team switch wouldn't accomplish anything. Guess I have to do both?īefore we begin, I had to go replay Q-Team's Execution a third time to reset their vote back to C-Team. ![]() Uhh, that's a lot of votes to end up tied. Part 61: C-Team Executed Part 61: C-Team Executed
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