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In memory of Marcello

"When you walk on the earth after flying, watching the sky because there have been and there you will want to return" (Leonardo da Vinci).

When he wrote THIS article, linked to the picture of Paul Gauguin, D'où venons nous / Que sommes nous / Où allons nous ( Where we come from - what we are - Where we ), even Marcello, the escalation of health problems that gripped him for some time, it was found that critical moment in which everyone looks for answers to those great unsolved issues of life, feelings that he had politely and subtly expressed in that post in which the investigation is introspective soul of Paul Gauguin, who at the time when the picture was painted in throes of deep existential angst. In that post Marcello, touching peaks that still did not know, I had turned out with great sensitivity, which also expressed in his cartoons, if they are analyzed thoroughly. Vignettes that often do not understand why sometimes very deep, as this , and then, without shame, asking him questions. What some of his most hardened critics did not understand was that when Marcello Sarcastycon can identify with, it was not the mere cartoonist as if he could find many others on the network. At this point I should like to lay claim to the authorship of the Sarcastycon, alias Marcello, cartoonist. It was I, in fact, that after having tasted its first cartoon in 2006, pushed him and stimolai to persevere in the road, which had chosen very well, and wanting to improve even more. Marcello lived time with the pacemaker , which ultimately made him a tantrum every now and then, and then had to go to review, as he used to call those absences from the blog. But lately, the use of such mechanical support had not been more helpful, and a new heart tells me that it would be more suited to his case. But for ethical and psychological has always abstained from the idea to undergo a transplant. And so, despite a routine operation at the San Raffaele Hospital, Milan - also based on what the mutual friend told me Stealth February 3, had been so good - back home, perhaps for the arrival of other complications in the evening di mercoledì scorso ci ha lasciati, spegnendosi nella sua abitazione, davanti al computer, forse intento a leggere i nostri post con i relativi commenti.

Ho di lui tanti ricordi, ma per quanto io vivrò ce ne sarà uno che mi riporterà a lui più di ogni altro. Negli stessi giorni di gennaio in cui si era aggravato, venendo ricoverato nell'ospedale della sua città, a 300 km di distanza anche mio padre veniva ricoverato quasi in fin di vita. Data l'età e le sue condizioni generali apparse subito molto critiche, noi familiari c'eravamo già preparati al peggio. Pochi giorni fa, invece, nel giorno del suo compleanno i medici, coadiuvati da eccellenti fisioterapisti, han provato a rimetterlo in piedi, e lui, autonomamente, managed to keep straight for a few seconds. Anyone here has so quickly whispered to the "miracle", even going to see who was the saint of the day: St. Peter Damian. Of this saint, and Doctor of the Church, some time ago I wrote a part of his hagiography in this short essay, by uniting the verses of Dante who had sung in heaven.

St. Peter Damian, a figure that would also be very suitable for our times - and remita, Monaco, Cardinal of movement: in love with Christ and the Church - was an enemy of waste and extravagance that took place in the Church of his time, saying che quelle risorse potevano invece essere indirizzate più utilmente per alleviare le sofferenze dei poveri.
En passant, vorrei quindi ricordare i tre punti salienti della sua agiografia, riassunti poeticamente da Dante nel XXI Canto del Paradiso, dal verso 106 e seguenti.

- Era un momento particolarmente difficile per la Chiesa. Erano frequenti casi di simonia e gomorria nell'ambito ecclesiastico. Su questi due argomenti san Pier Damiani scrisse il Liber gratissimus (contro la simonia) e il Liber gomorrhianus. Nel 1057 Stefano IX, anche lui monaco e divenuto papa per forza, lo creò cardinale vescovo di Ostia. Seguì due linee guida poste the center of his apostolic activity, "a return to tradition understood as a yardstick upon which the Church must continuously measure and the reference to the Apostolic See in the help function of truth, because it bears the seal of the Vicar of Christ." "He was the main inspiration behind the famous decree of 1059 which Nicholas II decreed that the papal election was made only by cardinals."

- began to be the cardinal motion. Posted in Milan, with an ingenious solution to put an end to the strike broke out in 1059 that liturgical because "almost all clerics were ordained simoniacamente. Mission accomplished then in France, where he resolved disputes to the extent possible. He was twice a Montecassino, e a Firenze dove fu chiamato per risolvere il caso del vescovo Pietro accusato di simonia. Già vecchio e malato, nel 1069 si recò in Germania davanti all'imperatore Enrico IV e ne impedì il divorzio.

- "Difese la libertà di parola nella Chiesa, il dovere di reciproca correzione fra i suoi membri fino all'ultimo laico". "Diede grande importanza all'aspetto socioeconomico, affermando che i beni della terra appartengono a tutti e che le ricchezze della Chiesa spettano per diritto ai poveri". "Ricordava ai monaci che, se nel comprare un vestito spendono troppo, hanno rubato, perchè si sarebbe potuto aiutare un povero".

between 'two shores of Italy rise cliffs,
and not far distant from your home,
much that thunders far Sonan lower

and form a ridge that called Catria
below which is consecrate a hermitage
Wont to be dedicate to worship only "

Thus unto the third speech,
and then, continuing, said:" There
the service of God I fei so steadfast,

That feeding on the juice of olives Lightly I passed
cold and heat,
Contented 'contemplative thoughts.

Render That cloister
to these heavens Abundantly, and now is empty,
so that it soon must be revealed.

in that place was' I Peter Damian (...)

Apart from the distraction of a strictly personal, linked to what happened to my father, I think that St. Peter Damian liked to Marcello , with whom, when they were to face in Heaven, s'instaurerà a strong friendship between them. In fact there is a sentence in the commentary of the post The province Terra di Lavoro , Which makes me assume this. Marcello says : "mine is a personal observation, if I go to hear a Mass, which I know virtually all the liturgy in a church, such as those we are talking about, I get distracted to admire the masterpieces on display. There the ceilings are incredibly beautiful churches with that, the more I look at it and find out more details that, in anticipation, you have not noticed, applies equally to managers and statue.Tutto this certainly does not facilitate the concentration on the ritual that is officiating.

said that, as also appears from this the journal online dell'ANTIUAAR, to which he belonged , Marcello had special preference for the Masses in Latin officiated.

On the subject of great dilemmas, including the minds more devoted to introspection often comes the desire to seek some scientific proof of the existence of God, what had happened in me, and Marcello, and so he had almost decided to venture in such research. The first idea he had when he published the post Entanglement (click to read) , present in his Zibaldino . An article posted by assimilation complicated, but worth reading to get an exact idea of \u200b\u200bwho was really Marcello: addict continuously in deep meditation, then voiced even in the biting cartoons signed Sarcastycon . One of my fleeting attempt is instead found in the post possible scientific proof of God ,

where the bright glare caused by the body of Christ under Tiziano Vecellio , preserved in the church of San Salvador Venice , it seems almost pre-empting and nearly four centuries of abusing the known law of Einstein, whose admirable synthesis is contained in the famous formula E = mc2 .
It appears that in this framework Tiziano wanted unconsciously create their own scientific proof of God's existence: the body mass of Christ, which turns into light, almost by virtue of the famous formula.

's departure at such a young age Marcello (70 years, just completed at the end of January, they were not that many) has always stuck to this project because it gave up, perhaps as a result of a comment by Josh , we had somehow deterred from continuing.

Postilla conclusive.

My daughter, aware of the great friendship between me and Marcello born on the cutting internet, insists urgently for change in the history book, promettendo di darmi una mano. Non prometto nulla, e ci penserò.

link utili : per accedere all'indice della sua saggistica, cliccare qui / a proposito del suo agnosticismo, leggere qua / a proposito della sua posizione in merito, leggere qua / per accedere a qualche suo spunto filosofico, cliccare qui / A proposito del suo agnosticismo cliccare qui

In alto: Marcello - Foto gentilmente offertami dalla famiglia

Seconda foto dal basso: Eremo di Gamogna - Appennino Romagnolo

Broken Capillarie On Breasts

swap bouquet

amike prejudice is a bit ke no .... I feel a bit of work ke keep me away from the pc ... but I am here today to thank Anke belatedly Paola for sending me this beautiful bouquet per l'omonimo swap!
GRAZIE PAOLA!!!

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THE ORIGIN OF THE CARNIVAL

Carnival celebration of excess, is traditionally considered the privileged moment of the year in which customary rules are abolished and all smodatezza permitted, and all the roles are reversed and any reversal accepted, every trick is allowed and accepted any and every oddity form of revelry: how to tell the advent of the absolute lack of restraint, during which the man can give vent to all the instincts repressed and humiliated in the rest of the year by social conventions.

These characters suggest that the carnival represents a celebration of liberation of inhibitions, a kind of disorder allowed the institutions to the moods and institutional anti-subversive cathartically can consume so that, later, the reaffirmation and restoration of the established order. But this function is attributed to the carnival today and impostasi after a long process due to the action of the Church censorship and moralizing on the one hand, to the sociology of desacralizzante other scientist of our time, it is simplistic and misleading with respect to the original meaning of the holiday , its value to the rich anthropological and mythological symbols that it expresses. Opposed in the past by the Church, which considered it an opportunity for unruly behavior deplorable and orgiastic from which the people God had to look, the carnival is in reality a celebration that has its origins and its role in the cosmic religious or archetypal man who leads cyclically to renew the sense of his being in the world, reaffirming the higher order of the cosmos and his right to belong to, as author of that order by means of their ancestors ancestors, those early men, now wrapped in the aura of myth or deity, who introduced the measure in the world order and to replace primeval chaos and created the conditions for the existence of men and their communities. Perhaps there is an influence of the Church in the name of the carnival, where it is true that it derives from the abbreviation of carnes remove from a reading of a sequence, with lavender carnes ("to suspend the food of the flesh") which shall be given in making the Sunday before Lent. To confirm this interpretation, there would be the equivalent terms used in Sicily ( Carnilivari ) and the ancient Tuscan ( carnival, from "leave meat"). More responsive to the original meaning of the term seems rather Fasnacht, used to indicate Saxon countries on the night of Shrove Tuesday and Ash Wednesday, which attests to the best orgiastic carnival riot because derived from a verb, faseln , which means mad, delirious or mad.

Another possible origin of the name can be found in distant Babylonian civilization, where is one of the oldest models of reference of the carnival. In Babylon the feast celebrating the transition from the old to the new year, whose advent corresponded to the vernal equinox. The culmination of that celebration was represented by crossing the city by a ship equipped with wheels, the car naval (from which, therefore, carnival) which towered the statues of the sun and the moon. Escorted by the people cheering, the boat approaching the shrine on wheels of the god Marduk, who, after falling into hell, rose by winning the chaos and restore order in the universe. The path of the car naval symbolizing the journey of the stars from the old to the new year and alluded to the passage of the darkness and confusion produced by the decline in the cosmos of time spent at re-creation and the brightness of the renewed time. During the trip a year dying - and with it the order of the cosmos - dissolved into thin air, causing the regression to the primeval chaos that is determined to reverse the natural, so the man turned into an animal, or in women in child and vice versa, the social inversion, which allowed the slaves to become masters of time reversal, where the dead and living evoked by wearing a mask, could be revived for "reckless" as to the time of their lives and their youth. We meet together here, in essence, the fundamental elements of the carnival, the same that we find, in more or less similar in the Roman Saturnalia, during which the slaves became masters and each license was allowed, but most (such as confirmation of the likely ' origin of the name of party) in the rites celebrated in honor of Dionysus in Greece and Egypt in honor of Isis, marked with parades of floats shaped like a ship, the same battle, moreover, that have been handed down over the centuries until today, as evidenced by the presence of carnival floats in many of our country, from Ivrea in Cento in Viareggio.

But pointing to the dead return to life we \u200b\u200bhave introduced a key element of the carnival, what gives it its most striking character and bears witness once again the sanctity of the archaic its origins. It is of the custom of wearing the mask, a custom which all scholars of cultural anthropology have pointed out the means adopted by primitive people to communicate with the afterlife. In archaic societies the mask is invariably an ancestor that is, at the same time, a mythical being, a founder of the dynasty of the men who helped to establish together with the rules of existence. It will be precisely these ancestors, brought to the surface due to the masks at the very time when humanity has regressed to the original chaos dying because of the time, to pay to live the life energy superhuman that has already allowed them to set up the natural and social order in the mythical time to re-establish and rebuild and regenerate the new era the very vitality of men, in turn, wear and tear on the time since. Of course there is a danger for the living evoking the dead, whose presence on earth should take just enough to bring to light the power of the underworld, that force which, among other things - let's not forget - it allows the plants to sprout from the seed and the first buds to open up, then marking the launch of a new life cycle of nature. Even the invention of the mask, if you need to materialize symbolically THAT ' from which another man has to draw the energy to renew itself, allowing them to identify with him and reduce it to its scope, is also to keep it at bay, at keep it separate from themselves. By overlaying the image of the 'other your face You have the strength, but at the same time it will be owned, at the risk of not being able to control it. This requires a definitive break between the momentary chaos and a return to usual carnival of life, disruption and dramatic that you configure propitiatory offering of a living being, with whom the souls of the departed, Place, will be returned meekly to the world below. The unbridled joy and orgiastic carnival is so striking conclusion in his putting to death of a scapegoat, the one put to death today is represented symbolically (but originally the sacrifice was undoubtedly a man of flesh and bone) with the burning, or with laceration drowning, a puppet named King of the Mardi Gras or Carnival.

order: "The Sartiglia" Oristano, Carnival in Venice Carnival "Bagoss" on Bagolino; "femminiello" of Zeza in Avellino, a hundred floats, "mamuthones" Mamoiada; carnival Devil Tufara.

Miriam

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S. Good Sal Valentino

Salve a tutte amike, come non riapparire nel giorno più dolce dell'anno? eccomi sono di nuovo tra voi...assente per influenza, lavori arretrati da completare....ma ci tenevo tanto a festeggiare con voi questo giorno...ke per me si è dedicato all'amore ma in senso più ampio...amore per la persona amata, per i figli,per i genitori, per gli amici...insomma amore per la vita perkè senza amore non si vive!!

.....e quindi auguro una vita piena di tanto amore a tutte!!!
baci Velia

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Hieronymus Bosch, painter religious

Of the various interpretations that have gradually seen the paintings of Hieronymus Bosch the product of an eccentric inventor of monsters and chimeras, the result of wonderful and unique patterns more repugnant than pleasant, the reflection of esoteric practices inspired by the heretical movements devoted to alchemy and witchcraft, or, in more recent times, the depiction of the most disturbing forms arised from the depths of the unconscious, then by the great Flemish painter, a kind of anachronistic follower of Surrealism and even of the psychoanalytic theories of Freud, had already justice done, if we see, the English priest Fray Jose de Siguença, the which, in 1605, stated that if other artists depicted the man as ever, Bosch had had the audacity to paint it as it is internally bringing to light, we must add, the tangle of good and evil in man to sublimate it into high poetry and create one of the most charming views of European painting.

The mentality was that Bosch's common to men of his time, that autumn of the Middle Ages in which the terror of the Apocalypse was still present and I live in the conscience, and il suo universo catastrofico e convulso si alimenta interamente delle ansie e delle angosce di quell’epoca. Lo sgomento della fine del mondo e del Giudizio Divino si rispecchia nella proliferante selva di ossessioni e simbologie mistiche e infernali, coi suoi risvolti di orrore per il peccato e di anelito all’ascesi, che appare nel cosmo urlato e straziato del pittore, in cui l’ordine delle cose è scardinato e sconvolto e dove si assiste ad orrende metamorfosi e ad oscene congiunzioni. La flora e la fauna, antropomorfizzate e talvolta metalizzate, ridotte comunque a forme aliene e inquietanti, braccano un’umanità spaventata e derelitta, quando non sono gli stessi diavoli ad afferrarla e punirla mentre è dedita solace to the most vile, or any kind of violence, and could not fly in the skies sulfur birds but wild fish swim and sail boats threatening.

We moderns have forgotten the fantastic and symbolic language of the past and that is why we can not easily understand the world of Hieronymus Bosch, to the point that some, in recent times, have gone so far as to feel it the result of a condition caused by taking hallucinatory drugs, possibly because contemporary poverty of imagination, the imagination can conceive only associated with the disruption the mind and senses corresponding to the so-called state of trance produced by drugs. Instead that was easily accessible to the contemporary world of the painter in his time because the reality was visible for all symbols and images often hyperbolic, and it was a reality of religious feeling nurtured very strong and almost violent, where the sense of implacable struggle between good and evil, between God and Satan was reflected in a deadlock between the strong uncompromising sensuality and mysticism of the Flemings. At that time preachers visionary represented the sins with the image of animals with horrible genitalia, from which flowed streams of fire and brimstone, the men led a relentless attack on the esoteric and magical practices (which, incidentally, eliminates any possibility of a Bosch dedicated to witchcraft, because his clients were always members of the clergy or religious factions, one of which, moreover, he belonged ), storyteller and towels used by acrobats who appeared before the crowds showed a taste for the grotesque and the monstrous was supposed goats and donkeys able to sing, wolves intent on playing the flute, birds fly away from the mouths of dragons and men vomited from the belly of the whale as it did in the days of Jonah in the Bible: the same images born from the imagination of Bosch, in short, except that he was able to translate everything in great painting, of a richness and subtlety of colors ed'una formal objectivity that gives these fantasies, then as now, a wonderful truth that, while impressive and alarming, seduce, and often enchanting.

On the other hand never failed to Bosch's capacity for accurate observation and realistic humanity in a way that could be observed in daily crowds of cripples and beggars who roamed everywhere, and find inspiration in order to represent their faces that appeared often grotesque and repulsive if only for the early toothless mouths, because at the time the dentistry was not even started the first steps. We see, for example, in the table of Christ carries the cross , a set of faces in the foreground and most vociferous imbestiate, cruel attitudes grimaces and grins, and where only Christ and Veronica who wiped his face has just been imprinted in the cloth retain human features and painful.

Mind you, this world is so distorted and not at all reassuring is not free, not if we examine the surface of the volcanic production bosciana, a hint of irony or sarcasm, not because the careful eye can escape in his work, the delight in giving substance to a phantasmagorical universe and surprising, il piacere di confezionare una pittura con estrema sapienza e perizia, e la ilare vivacità di spirito d’un artefice che, mentre ammonisce i suoi simili a temere il giudizio dell’Altissimo, non disdegna di sciorinare davanti ai loro occhi, col gesto sornione del prestidigitatore, i frutti multicolori del suo ingegno e di abbagliarli con la magia della sua prodigiosa fantasia. Basta guardare, per capirlo, i grandi trittici bosciani che il tempo ci ha restituiti intatti (perché si sa che, purtroppo, buona parte della produzione di questo artista è andata distrutta o perduta), primo fra tutti quel Giardino delle delizie che, volendo raffigurare e stigmatizzare la lussuria, appare come una vera e propria festa di colori and images where the eye is lost ito stunned and charmed, and where, especially in the central panel, you can breathe, yes, erotic atmosphere and a widespread sense of sensuality, it is populated by an infinite number of nudes male and female, but so icy and goticizzati to make it completely asexual and, attitudes in various poses alluding to the sexual act (as when biting together huge strawberries or cherries surround themselves with symbols of carnal pleasure, while they are observed by robins representing lust and owls that refer to the sin of lust) appear purified from any suspicion of disease. The side panel on the left is a glimpse of the Garden of Eden to Adam and Eve next to the Creator in benign attitude, while the animals already in the foreground are addicted to violence and threatening landscape surrounded by mountains behind them unnatural, and the strange plant-fountain I zza way between a reptile and a coral inside which still lurks the owl, clearly allude to the next expulsion. In the panel on the right, meanwhile, is now dark and fetid air of hell, with murmurs of a glowing fire and the representation of the various tortures that exposes the unbridled lust, as being possessed by a pig or torn to pieces by dogs, while on the whole dominates the mysterious figure Human tree with the phallic symbol of the bagpipe head and round belly that might be alluding to the heresy primordial egg from which we sprung us humans at the dawn of time, houses a tavern in which a person climbs on his ass pierced by an arrow.

not chase the endless inventiveness bosciana except to say again that, in both large-scale works, both in the tables of medium and small scale, the chromatic beauty and happiness that always allows the layout of the scenes, even where the plant appears monumental, the reading of every minute detail, often reaches heights of painterly virtuosity that rivals, if not exceeds, the unbridled imagination of the artist charged. Perhaps from the point of view of the purely pictorial, first place goes, of all others, the triptych of 'Epiphany , who kidnaps especially for the beauty of the details, like her dress valuable Melchiorre with spiny acanthus that decorate the collar and the shoulder, the second king of the mantle with ornate friezes representing episodes from the Bible, the gifts of the three magi carefully chiseled and the quiet solemnity of the landscape with a pale blond in the background the city, bristling with towers fantastic. At first glance, a quiet, almost idyllic scene, but, again, to remind us that the salvation of the soul is difficult to achieve and even the coming of the Savior is enough to redeem man from his hardness of heart and the inclination to violence and sin, the landscape seems clear path by armies on the march towards war and the nativity scene, so familiar serene is marred by the presence of malignant and suspicious-looking shepherds who keep the Adoration of the Magi with boldness and suspicion, while the door of the old hut peeps a bizarre character half naked and left full of gold trinkets barbaric, a clear symbol of paganism that will be hard to eradicate.

Dionisio

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Beyond, Nekyia, Inferno



In the history of literary figures often meet the afterlife, underworld, or hell (among them distinct concepts), used as narrative pretext. The idea that one gets is not uniform, it has several connotations and cultural stratification. In Western literature is a Christian afterlife, an afterlife pay traditional home-Mediterranean, a greek-roman, but very often a fusione tra più concezioni, altre volte contaminazione con altre idee, dallo Sheol ebraico all'Ade, da un'idea di Inferno non come luogo di pena ma semplicemente come dimora dei morti, a un'idea di Inferno di pene astratto o fisico. Differenze ci sono anche nella stessa mistica cristiana in diverse epoche.

"Inferno" è dal lat. "infernus" , "posto in basso", "inferiore", sinonimo di "inferus" . Col termine "inferno" ci si riferisce di solito solo alle 3 rel. monoteiste, invece "inferi" si riferisce a tutte le altre culture pagane antiche e moderne. Nel mondo greco-romano non compare l"Inferno", ma "Inferi"a indicare il sotterraneo "regno dei dead, whose king was the god Hades / Pluto or Dis / Proserpine, hence the name Hades, understood as the realm of the underworld, with the name of God extended to the site. The kingdom of the dead greek-Latin was a physical place , albeit vague and imaginative reach, where to stay shadow, undivided moral merits. Virgil in the Aeneid that will invent a hell of complex topography, dividing the underworld of Tartarus and the Elysian Fields, where there is a moral division between the shadows; Virgilio also invented the 'City of Dis', borrowed from Dante's Comedy.

(William Blake, Dante's Inferno for the table)

Judaism originating in Hell than other cultures takes on new connotations. The principle of evil, Satan, fallen angel, not a god (as in other cultures), but as an angel figure lower than God and he likes that betrays the most powerful man, and was appointed with the appellations of neighboring cultures, as if to emphasize the otherness and danger: Beelzebub (Figure Phoenician), and Hinnom (the Gehenna,) becomes the name of Hell instead of Sheol (the place of the dead underground). Hinnom was originally a pagan place of worship of Moloch, depicted in bronze, below which it opened a furnace where young people were sent to burn human sacrifices.

In the NT greek original text makes a distinction between Hades (meaning the grave) and Gehenna (such as fire, as the Valley of Hinnom), but not always respected in translation is the lexical-conceptual difference. Many, however, the passages in the Gospels where Jesus speaks of hell in person, either directly or using metaphors that are fundamentally very clear ('there shall be wailing and gnashing of teeth', 'the eternal fire') although the precise word, in itself, does not appear in the Bible.

to theology and Christian mysticism after an initial period in which the exegesis was not entirely detached from diverse cultures, including Catholic theology (such as evangelical and orthodox) portrays Hell as a place-no place is more metaphysical than physical, however, very real, far away punishment from God, eternal flame (except cross-modernist heresy that has challenged all the historical articles of faith) as the sacred text explains very well what you mean, but does not give a precise description.

For the hellish journey in literature, can not be apart from Dante, who has informed himself of most of the collective not only Italian, and already here the themes are not suitable for a short post, it will then only fleeting comments. Dante's Inferno is a Christian? depends on what value we give to words. In a way, no way.

For Dante the physical world was divided into two hemispheres, one consisting of land, the other covered by water. Dante mutual these ideas by incomplete knowledge of his time, but not from the Bible, where there is no mention of anything like this: the biblical text gives no indication if the cosmological no measurable universe, but does not say at all that the earth was at the center of the solar system-but this idea was embraced by Ptolemy, Dante, or that it was flat, or immersed in water outside, but the only thing the Bible is affirmed also proved scientifically accurate: Isaiah 40:22 states "He (God) is One who is enthroned above the circle of the Earth" with the term chug (globe, ball) ... and there are other biblical passages that were highlighted sphericity of the planet.

(representation of Dante's Inferno)

back to Dante, hell the conformation of the Commedia is due to advise the rebellion of Lucifer, to his being cast unto the earth from heaven , which Dante era un luogo fisico oltre il sistema di rotazione geocentrico. Nel punto in cui cadde Lucifero, il terreno si sarebbe ritratto per contatto con il demonio, creando così l'enorme imbuto dell'Inferno (dantesco). La porzione di terra ritratta, riemerse nell'emisfero delle acque agli antipodi e formò la Montagna del Purgatorio che si erge dal mare nell'emisfero opposto. Lucifero è per Dante quindi conficcato al centro della Terra, nel punto più lontano da Dio, immerso nel lago sotterraneo Cocito, perennemente ghiacciato a causa del vento freddo prodotto dal continuo movimento delle sue sei ali.

Nella Bibbia gli unici punti solo in parte in comune con la visione dantesca sono in Apocalisse, the chained figure of the Dragon for 1000 years by the Archangel Michael and the fall of the rebel angels in Ezekiel, however, very different from the Comedy.

Always in Comedy, but many are demons or monsters mentioned by Dante, some of his own invention, other sources for the most part mythological greek-roman. Minos, the Minotaur, sad boatman Charon, the Centaurs, Harpies, the Furies, Cerberus ... in this purely medieval poet Dante is revealed. Undoubtedly the most imaginative part of the exegete to the School of St. Bonaventure, St. Thomas Aquinas, Albertus Magnus and many fathers have revised some previous classical figures in a symbolic key. Other sources are the stories of Dante troubadour, the Chanson de Geste.

In this light comedy and should be located as the culmination of the medieval tradition as the highest literary outcome of the time, but also its end. But when Dante composed of comedy has a long tradition of travel to the underworld, with the common origin of the narrative pretext of Nekyia, already in Homer and Virgil. It should be allowed to start considering the Comedy as a meeting of very different codes, and not just as 'Christian poem' as is sometimes done, because in the strictly theological sense, it is not, but rather aims to be an encyclopedic Summa, yes longing to cento medieval art, the summary of all the culture of the time.

(Gustave Dore, engraving)


Nekyia , from the greek νέκυια (from νέκυς , arc. νεκρός of "dead") was among the Greeks the ancient rite (necromatico fact) with which evoked the dead for divination . In the eleventh part of the Odyssey, Odysseus tells how he reached Hades to question the seer Tiresias and conoscere la propria sorte: i morti sono presentati come ombre mute che per parlare, quindi per riacquistare una parvenza di vita, devono abbeverarsi con il sangue. Ulisse allora compie un sacrificio rituale, raccoglie il sangue delle vittime, e mentre le ombre assetate gli si fanno intorno come vampiri, si difende con la spada; terrà gli spiriti lontani durante l'incontro con un compagno morto, poi quando interrogherà l'ombra di Tiresia, infine quando parlerà con la propria madre; solo a questo punto concederà agli altri morti di bere il sangue e dunque di raccontare la loro storia.

Nel Libro VI dell'Eneide Virgilio segue in buona parte la narrazione di Homer: Even in the afterlife Aeneas meets a dead comrade, defends himself with a sword (but from the monsters of hell, not thirsty souls), tries in vain to embrace Ulysses as a shadow. With his description of the underworld, the Hades, Virgil, in spirit line between paganism and Roman Catholicism-greek, Virgil makes his belief in reincarnation in some way associated with the afterlife and yet the dream, the decisive factor for the later medieval tradition: the vestibule of dreams dall'Olmo Averno is shaded rooms, and Aeneas, completed his journey to leave the underworld through the Ivory Gate of Dreams.

Già nei primi secoli del medioevo si diffondono i resoconti di viaggi nell'aldilà in forma di Somnium, i sogni, o di visione, che alla lunga seguono uno schema fisso: il protagonista ha un malore o una febbre alta, resta per ore in uno stato di morte apparente e nel frattempo compie il viaggio nell'aldilà, per poi ritornare tra noi e raccontare. Spettatore più che attore, non scambia parole con le anime dei morti, che sono per lo più figure esemplari o tipi. Questo tipo di narrazione diventa un'abitudine letteraria, e nelle volgarizzazioni viene facilmente accostata al racconto di San Paolo asceso al terzo cielo, o all'Apocalisse di Giovanni, o alle visioni di Daniele. Nel Trecento, quando il brevissimo versetto del "quasi per ignem" paolino di 1 Cor. 3:15 ha già generato nell'immaginazione occidentale la tripartizione geografica dell'aldilà (non affatto esplicita nel testo biblico), Dante, sulla scorta della tradizione ma anche di una patristica a tratti fantasiosa non può che sancire la nascita del Purgatorio, luogo intermedio tra dannazione e beatitudine, più che non renderlo come ipotetico luogo intermedio metaforico e 'a tempo'. Dell'aldilà classico greco-romano ancora in Dante rimangono atmosfera e mostri, di quello medievale rimangono la suddivisione delle pene in base ai peccati, dei premi in base alle virtù, con le contaminazioni pagane più varie.

Other Comedy and influence in medieval literature is the Somnium Scipionis, song of "De Re Publica" of Cicero 54 BC with a strong moral value and imaginative together in this part of the work is of the soul, the premium otherworldly to the large men, in a philosophical-mystical vision of the afterlife according to Roman values. Enormous resonance throughout the Middle Ages. The content is organized as a narrative of Scipio Aemilianus in a dream where his grandfather Scipio Africanus, predicting the future, bearing witness to a vision of the celestial spheres, immortality of the soul.

Otherwise, if the play departs from previous texts in some areas, Purgatory, as the traditional greek roman afterlife, is punctuated by the 7 Deadly Sins, Hell is in three parts. In the first six circles there are incontinent, the violent in the 7th, 8th and 9th of those fraud. For those who insist only on the origin of the afterlife Christian Dante, are opposing some tests. There is no representation made 'a group' Christian biblical afterlife. In addition, the tripartite division of Dante's Inferno back on the one hand Nicomachean Ethics of Aristotle the other to "De Officiis" Cicero, averaged according to the conception of the right and duty through the Corpus Juris Civilis of Justinian: the structure of Dante's Inferno therefore not derived from the terms as commonly understood Jewish or Christian, but is largely suggested by Greek philosophy, Roman law, medieval theories of 'ecumenical'. Continue in fact are the echoes of the underworld journeys are charged, the Odyssey, Dante's known only indirectly through the Latin Vulgate, and the Aeneid, by far one of the texts present a watermark in the Comedy, plus the influence of Apuleius , Argonautica by Apollonius of Rhodes with the theme of the journey, the journey of initiation, transformation of self and soul, from Plotinus and pagan mystery cults themselves.

hero Ulysses in Dante's Inferno in Canto XXVI, è un doppio di Dante, il viaggiatore che ha tentato di raggiungere l'aldilà senza essere assistito dalla Grazia; Virgilio è la guida attraverso i primi 2 regni dell'oltretomba dantesco, poeta pagano, ma visto nel medioevo come fuso con il cristiano. La fede medievale in un unico Dio separa Dante dai predecessori politeisti pagani, pur usando lui tutto il loro bagaglio di temi in una sorta di grande centone enciclopedico delle credenze d'allora, e garantisce ovviamente il successo del suo viaggio, con la complice Beatrice morta e risorta in qualche modo che intercede per lui.

La discesa agli inferi, la visione d'aldilà, l'evocazione dei morti sono (anche) pretesti letterari, di cui qui abbiamo seen a few examples. Become also in the Commedia, as noted, not only a means for the future with more or less magical arts, but also to read this delivered in the afterlife, not without favoritism and personal revenge: this medieval Europe is apparently observed from an eternal perspective, taken at the time of history because it was already submitted to the imaginary God's judgment / filtered by Dante / narrator.

Josh