Dante alighieri divina commedia pdf


LA DIVINA COMMEDIA di Dante Alighieri. INFERNO. CANTO I. [Incomincia la Commedia di Dante Alleghieri di Fiorenza, ne la quale tratta de le pene e. Bit earlier than promised, I’ve finished the Paradiso, so I bring you complete Dante Alighieri’s Divine Comedy in PDF for free download, as 3 separate eBooks – Inferno, Purgatorio, and Paradiso. Dante Alighieri’s Divine Comedy – Inferno (MB) This entry was posted in. Project Gutenberg · 59, free ebooks · 64 by Dante Alighieri. Divina Commedia di Dante: Inferno by Dante Alighieri. No cover available. Download; Bibrec.

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Dante Alighieri Divina Commedia Pdf

Project Gutenberg · 59, free ebooks · 64 by Dante Alighieri. La Divina Commedia di Dante: Complete by Dante Alighieri. No cover available. Download . PDF PREPARATION AND TYPESETTING . Dante delights in a play upon words as much as Shakespeare. Dante Alighieri - Divine Comedy, Inferno. 3. Divina commedia. Paradiso, a cura di P. Genesini. 1. L'universo di Dante. DIO serafini cherubini troni dominazioni virtù potestà principati arcangeli angeli.

We will also see that, although there is no imposed pain or punishment in Paradiso, Dante-poet finds pain in his awareness of future events. Consequently, Chapter 3 will explore the way in which the desire that tormented the infernal souls and lead to their suffering now becomes a desire which, through pain, paves the way for the greater good in Purgatorio. Through such a subtle play on tenses, Dante-poet hands over the pen to Bertran and gives the sinner a chance to pass judgement upon his own condition, thus only heightening the extent of his suffering in this passage. In allowing Bertran to be the one to pass judgement upon himself, Dante shows the limits not only of the language of punishment, but of reason, when it comes to portraying the magnitude of the suffering experienced by sinners as a result of the contrapasso. The poet thus awakens our senses and encourages readers to question the nature of punishment and the inexpressibility of the pain it causes. Instead of allowing us to dwell on the notion of contrapasso the poet only reveals it to us twenty-eight cantos in throughout the first cantica, Dante gives us a highly sensory experience through his poetry of pain so as not to diminish our grasp or attention to the complex manifestations of suffering. The inevitable similarities of the poetry at the beginning of both Cantos gives rise to an uncertainty which suggests that we are to expect a similar encounter of pain and darkness in Canto XIII as we did in Canto I. In this attempt, however, another factor of the poetry of pain arises: in asking Virgil to communicate with Pier for him, Dante hints towards his wish to gain a satisfactory understanding of the infernal condition. In the 8 following chapter, therefore, we can further broaden our understanding of the infernal plight by exploring in more detail the nature of the desire which lies at the core of the poetry of pain. If we are to take the fact that, even in Inferno, the damned are in some way a perverted image of the Godhead whom they rejected, we can consider desire to be the factor which determines just how much, or how little, this likeness is visible. With this understanding, the remainder of Chapter 2 will explore the cases of Francesca da Rimini and Ulysses so that we may further understand how misdirected desire is presented as the intrinsic cause of the inflicted pain upon the sinners.

Now add all the verses in the white area designated as Cardinal signs of Astrology and the total is verses. Total the black area designated as Fixed signs of Astrology and the sum is I did have to tweak the sequence of the twelve totals outlined in the original image.

What I did was simply place the sign of Taurus the second sign of the Zodiac into first place because the number two tries, as it may, to usurp the position of God, which is symbolically number one MONAD , which Aries signifies as APRIL FIRST, which is the beginning of creation according to Jewish lore; thus, by tweaking these numbers by putting Taurus first a much more esthetically pleasing image of the Trinity was discovered.

This placing the number two first is not unprecedented. The first letter of Genesis is BETH, which has the numerical value of two 2 and that is another esoteric analysis not to be discussed here in this paper.

I had, through one graphic line, the silhouettes of three heads inferring the Trinity and one was Neanderthal looking: obviously Yahweh symbolically representing ego-consciousness. All three images appear to be laughing. Only a variation of the height and depth of the area graphic line produces the different images of the Crown and Trinity images: all the original authors had to do is fine tune the numbers by tweaking them.

It is through the demonstration of these several art forms outlined in this work that it can be seen that it was important enough for our ancestors to take this commentary on the MONAD seriously and devote their lives and resources to blanketing the globe with variations on its theme.

This is only because I do not know Italian, which is the language the storyline is best studied from in regards to an esoteric point of view; nonetheless, I will not go too much into that material for it is not appropriate for this paper; however, it is fitting that I mention that Dante structured his La Divina Commedia, for the most part, within the Kamea of the Moon: a 9 x 9 magic square.

Below there are a number of different images of the same matrix studies from a number of different perspectives. It is the multiplication tables up to ten that Pythagoras21 is credit with creating and in which he developed his mathematical theorems; however, Pythagoras did not create it, he independently envisaged it out of the MONAD just I did and thousands of other people did in all times and climes.

Conceptually speaking there is no difference between the first multiplication table and the others outside of their perceived quantitative values. This order enables each of the columns, rows and diagonals to total to This matrix is a product of the first matrix above.

Dante Alighieri imbued into the compositional structure of his La Divina Commedia an ancient system of thought, which is not known to exist in modernity. This system of thought was known all over the world in antiquity though it is not generally known in modernity. Personally, I do not see the necessity of the so-called Mystery Schools keeping this information from the general public. Yes, I can lay out these mathematical patterns that I have envisaged in the system over a period of twelve year.

I can also tell the reader that what is in this paper is not anywhere near the tip of the iceberg that is the Esoteric Science. The Esoteric Science is itself the secrecy that is withheld from the initiate. What that means is that no matter what I personally lay out in this paper there is a database of knowledge within this material that would make what I have outlined pale before it.

Yes, the mathematical system remains the same throughout all times and climes but the key is for the initiate to walk the margins of the world seeing this esoteric divine system of thought in all cultures.

Every single culture around the world in antiquity has created their literature, artworks and monuments differently than all other cultures.

That is the beauty of divine esotericism. The question is why did the ancients set up this Esoteric Science in their literature, artworks and monuments around the world?

The answer is found in the individual building his or her psychic temple that he or she will live in for eternity. Yes, the literature, artworks and monuments of antiquity that we see in the outer world were created by a nation of people with a like-minded mentality knowing the art of esotericism: how to speak, write and convey the WORD OF GOD.

However, what the literature, artworks and monument convey is not gear towards the masses it is always designed for the fledgling initiate: the lone mystic. If this is the case why is the Catholic Church so uniformed in its teachings? The answer to that is that the Catholic Church is the prototype of the Temple of God.

It is the generic way of expressing esotericism in Christianity. Those that read La Divina Commedia will see that Dante Alighieri is the lone pilgrim journeying through Inferno, Purgatorio and the Paradiso so there is no ambiguity as to there being anyone journeying the pilgrimage with him.

Virgil represented what Dante Alighieri was most enamored by in the outer world: the poetry and philosophy of Virgil; therefore, nothing was more appropriate to guide Dante than Virgil. What augments this guide Virgil is the spiritual guidance, which is represented by Beatrice, Lucy and the Virgin Mary, which is symbolic of the high spiritual dynamics in the unconscious mind.

Spiritual guidance made it infinitely easier for Dante Alighieri to traverse the three realms of spirit although he had a very difficult time doing it. Nobody promised him a Rose Garden. Dante had to prove himself, every step of the way. I want to end this paper by giving the reader three examples in the past two centuries of three lone pilgrims that journey into the arms of God. Psychiatry was his profession and that is what enamored his psyche for the rest of his life.

It was April 11, that I came face to face with what the cycle was that I had envisaged in the first chapter of Genesis. During that almost nine year period, from the commencement of my researches into the Holy Writ August , I learned what was not of intrinsic value esoterically; thus, learning what to accept and most importantly what to discard as trash.

Mathematics is the optimum and ideal mode in presenting the Esoteric Science seeing it is universally accepted as the universal scientific language. Each language is local and not universally understood and therefore the Quadruvium universal language is used because it is universally understood. In addition mathematics is an abstraction of the psyche and has no concord with the world. In order to express mathematical ideas arithmetical data has to have a linguistic format to record that knowledge; therefore, numbers digits are in and of themselves a representation of the Trivium Grammatical Arts.

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[La Divina Commedia]

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La Divina Commedia di Dante: Complete by Dante Alighieri

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Now I can enjoy my reading anytime anywhere. These are amazing books. Thank you for all your hard work. I would just like to know if these three books are available in print? Please email me. And the limits of the inhabited lands were identified to the West as the last edges of the Iberian coastline between Cadiz and Portugal close to the Pillars of Hercules, and, to the East, as the East coast of India where indeed the Ganges reaches the sea.

The first was the Bengali poet and playwright, Michael Madhusudan Datta , who knew Italian well and was the author of the epic poem Meghnad Badh Kavya Ballad of the death of Meghnad published in in which the deeds of a warrior cited in the Ramayana are sung about. In this Ballad one can detect the influence of Western poets amongst which Dante and Milton appear to be those from whom the author has drawn most of his inspiration.

Madhusudan Datta also wrote various sonnets inspired by Petrarch and dedicated one of them — with the title Dante, the poet of poets — to the author of the Divine Comedy himself. Tagore is not the only Indian intellectual who shows a great appreciation of that famous verse from Paradise.

Despite the interest in Indian culture for Dante Alighieri, it took some time for the work to be translated into Bengali. Besides the mention of the river Ganges in the Divine Comedy there is two other references of India and the Indians in such terms as to make one realise that the great poet, albeit with only a slight knowledge of India, had two firm convictions about its physical and climatic characteristics: Coming to the second point, in Purgatory , verses of canto XXVI —— Dante tells of his meeting with one of the penitents of the circle of the lascivious who poses a question and adds, also in the name of the souls around him, that he and the others are thirsting to know his answer more than Indians and Ethiopians precisely because of the great heat of their countries thirst for fresh water: But the point at which Dante alludes most decisively to the exceptional heat which was to characterise the climate of India is in canto XIV of Hell ,Verses , where the poet describes the burning sand third ring of the seventh circle in which those who offer violence towards God are punished by being subjected to a continuous rain of fire.

Dante compares this awful scene with what happened once to Alexander the Macedonian and his troops — but it is clearly an implausible legend — in the hot regions of India: At which Alexander the Great had ordered his men to stamp on the sheets of flame as soon as they came to earth in order to put them out before they spread.

The verses of Dante about the burning sand and the legendary adventure in India of Alexander the Macedonian: