Page 9 - GALIET DOOMSDAY AND DANTE´S PROPHECY 515: Dante IV

Preface.
The illustrious Veltro2 and the Cinquecento e Diece e Cinque,3 Dante’s two legendary Divina Commedia enigmas, lucid amidst Plato’s utopia and the Judeo-Christian messianic and apocalyptic tradition, have enshrouded the identity of Italy’s saviour and perhaps of the world, marvelling, for seven hundred years, multitudes of exegetes and hermeneutists. Conjectures abound that the related4 Hound and 500 10 5 prophecies symbolize a new golden age, a reforming pope, emperor or preachers of Dante’s times including Dante’s very self, his Divina Commedia, an anonymous messiah or Christ in his Second Advent. Leaving an indelible sense, in the spirits of avid commentators, of an immeasurable power, a contagious magnetism of unequivocal magic: hypnotic riddles and spells which dance along glorious terza rimas 3⁄4 incantations 3⁄4 as if descended, without hesitation, from Platonism’s Hyper-Urano and were made manifest, at once, in the temporal, by the emanation of pure universal breath 3⁄4 logos 3⁄4 from the Sameness of the Same. Divine essence, which permeates Dante’s finite, eternal microcosm and macrocosm with the grand theology of everything medieval: intricate Gematria and Arithmancy fused with Pythagorean theory whereby number partakes in the harmony of the spheres yielding an eternal, perfectly ordered universe embraced by geometry’s beauty and Plato’s forms.
Ancient belief and idea deconstructed and transformed by modernity and post-modernity into angst and nausea as consequence of the Age of Enlightenment, existentialism and Nietzsche’s obliterating hammer’s strike: “God is Dead.”5 Ancient belief and idea as remote to us as a temporal, infinite and imperfect universe would be to Dante and Medieval theologians. Ancient belief and idea fully manifested in Dante’s lyric prophecies riddled with sacred monad, pentad and decad, persuasively alluding to Christ and the Chi Rho Christogram
2 Inferno I, 105. Dante. The Divine Comedy. Inferno. Trans. Kirkpatrick. London, UK: Penguin Books, 2007.
3 Purgatorio 33, 31-54. Dante. The Divine Comedy. Purgatorio. Trans. Kirkpatrick. London, UK: Penguin Books,
2007.
4 Though some argue that these are two distinct, separate prophecies, Dante has placed one of the most enigmatic passages of the Hound prophecy precisely in line 105 of Inferno I, Canto I. These three digits are the same, in form and sequence, as the last two digits of the 500 10 5 prophecy, strongly suggesting Dante’s intentions to have both prophecies remain linked to one another. This could not be mere numerical coincidence in a symmetric epic deliberately ridden with number symbolism. Moreover, the fact that the Veltro appears in the first canto of Inferno while the 500 10 5 in the last canto of Purgatorio, confirms the alpha-omega motif in the poem characteristic of Christ and God.
5 Nietzsche. The Gay Science. Aphorism 108. Nietzsche. The Gay Science. Trans. Kaufmann, Walter. New York:
Vintage Books, 1974.
•9•
Galiet & Galiet