Canto XXXIII

Lettura e commento
Canto XXXIII del Paradiso
di Gaetano Stea

Come ognuno sa il cammino del poeta Dante lungo i tre regni dell’oltremondo aveva l’intento di rappresentare sì una storia, per certi versi ancora da decifrare, che riguardava il poeta stesso nella propria sfera umana e religiosa, ma anche di amplificarne i necessari riflessi di carattere sia filosofico, sia teologico che psicologico che ne sarebbero scaturiti, a tutto il resto dell’umanità.
Il poeta si propone così quale annunciatore dei tempi nuovi nel topico momento in cui l’umanità uscita per sempre dal torpore e dalla eccessiva cura del particolare, si rivolge alla pratica sistematica delle virtù morali propugnate dai grandi esempi di vita cristiana quali san Benedetto e San Francesco. Perciò nell’intento del poeta la vicenda personale si slarga fino a significazioni di ampissimo raggio, e in uno dei primissimi incontri con Beatrice nel Purgatorio, le fa dire: Fissa ver me le agute luci dell’intelletto / e fiati manifesto l’error dei ciechi che si fanno duci.
I cattivi maestri sono anche per Dante i responsabili della deriva dell’umanità, che tuttavia ha il compito di tessere la trama degli eventi della storia. I ciechi che oggi si fanno duci non sono altro che coloro che nell’opinione generale sono i depositari della verità, senza avere ricevuto alcuna investitura dall’alto; sono i divulgatori delle false ideologie, o comunque delle “suggestioni” che fanno presa sulla massa dei deboli ma anche tornano utili a coloro che le divulgano. Coloro invece hanno fatto tabula rasa del passato, ritenendo le proprie idee cariche di sola novità, hanno finito per ingannare sè stessi ed anche tutti quelli che li avevano ascoltati. Tali sono i soggetti che veicolano quella che un grande scrittore del 900 aveva definito “la menzogna convenzionale”.
Una vicenda tutta personale perciò quella di Dante, cosiccome traspare dai versi che introducono uno degli ultimi canti del Paradiso:
O insensata cura dei mortali, – quanto son difettivi sillogismi – quei che ti fanno in basso batter l’ali! – Chi dietro a iura e chi ad aforismi – – sen giva, e chi seguendo sacerdozio, – e chi regnar per forza e per sofismi, – e chi rubare, e chi civil negozio; – chi nel diletto della carne involto- s’affaticava, e chi si dava all’ozio,- quando da tutte queste cose sciolto, – con Beatrice m’era suso in cielo – cotanto gloriosamente accolto.
Il poeta non ha perso mai di vista la vita reale cui è sempre rimasto legato, anzi ognivolta egli si libra nelle vertiginose altezze del suo paradiso, ritorna sempre a parlare delle cose della terra, e ciò rappresenta una costante dell’opera, quasi che senza il necessario abbinamento fra “il divino e l’umano” fra “l’eterno e il tempo”, non sarebbero risultate presenti tutte quante le coordinate che contraddistinguono il poema sacro, e quasi che, senza tale richiamo, l’opera tutta non avrebbe trovato una compiuta realizzazione. Man mano che l’opera si approssima alla sua conclusione si avverte un respiro e un’atmosfera di grande solennità, quasi che il rito di avvicinamento alla rosa sempiterna ed all’empireo, debba essere anticipato con musica, colori e parole che non sono solite sentirsi, vedersi e pronunciarsi nella nostra dimensione terrestre. L’ultimo canto della terza cantica che registra nell’incipit l’inno alla Vergine Maria, non nasce senza alcun precedente iniziale, ma ha già avuto i suoi preannunci nel Purgatorio con il canto del trionfo di Beatrice al canto XXX, allorchè così viene descritta la figura di Beatrice che si presenta nel Purgatorio al pellegrino Dante:
così dentro una nuvola di fiori – che dalle mani angeliche saliva – e ricadeva in giù dentro e di fori, – sovra candido vel cinto d’uliva – donna m’apparve sotto verde manto – vestita di color di fiamma viva.
Alla maniera delle antiche teofanie si è pure cimentato il poeta anche al momento del congedo dalla stessa Beatrice nel canto XXXI del Paradiso allorchè si mostra impreparato e quasi spaesato:
O donna in cui la mia speranza vige – e che soffristi per la mia salute in inferno lasciar le tue vestige. – Di tante cose quant’i ho vedute, – dal tuo podere e dalla tua bontade – riconosco la grazia e la virtute. – Tu m’hai di servo tratto a libertate – per tutte quelle vie per tutti i modi – che di ciò fare avei la potestate. – La tua magnificenza in me custodi, – sì che l’anima mia che fatt’hai sana, – piacente a te dal corpo si disnodi. – Così orai; e quella, sì lontana, – come parea, sorrise e riguardommi; – poi si tornò all’eterna fontana.
Questi gli antefatti, queste le premesse di carattere poetico, queste le anticipazioni affettive e suggestive di quella grande chiusura del poema, simile ad una musica possente e solennissima quale scaturisce dalle note dei Quadri per un’Esposizione di Modesto Mussorskj, ove viene descritta la Grande Porta di Kiev con le campate musicali ed i volumi sonori, rarissimo cimento di armonia ed invenzione del secolo passato, non a tutti sconosciuta.
La Vergine Maria è anche la Porta del Cielo. Con una porta si era aperta la prima cantica dell’Inferno, “Per me si va nella città dolente, per me si va nell’etterno dolore, per me si va tra la perduta gente”, e con una porta si chiude la vicenda umana e soprannaturale dell’uomo-poeta, al di sopra della quale però si trova l’intero verso:
“o gioia, o ineffabile allegrezza, – o vita integra di amore e di pace, – o senza brama sicura ricchezza”.
Il poeta perciò chiude l’opera con un inno sacro, quasi “Te Deum” di ringraziamento a Dio per essere uscito “con lena affannata dal pelago alla riva” volgendosi “all’acqua perigliosa e guata”, e per aver concluso un lavoro cui “pose mano e cielo e terra – e che m’ha fatto per più anni macro”
E tale incipit è strutturato proprio alla maniera degli inni sacri quali il “Magnificat” l’ “Ave Maris Stella” “Tota Pulchra es Maria”.
Qui vanno osservate le contrapposizioni verbali e di significato tra Vergine e Madre, figlia del Figlio, umile ed alta, termine di consiglio eterno, fattore e fattura, volar senz’ali.
Qui forse l’espediente delle contrapposizioni prende le mosse dalla struttura stessa del Magnificat specie ove si recita “dispersit superbos mente cordis sui, deposuit potentes de sede et exaltavit umiles”;
e da cui si comprende meglio l’opera del Signore che è portato a ribaltare le categorie umane e quindi a togliere dal trono i potenti e collocarvi gli umili, umanizzare il divino, maternizzare una Vergine, attualizzare un progetto, l’incarnazione, fatto segno ad “eterno consiglio”. Le salmodie, gli antifonari, le musiche, gli inni di che erano ripiene le basiliche medioevali, trovano qui compiuta realizzazione nella poesia, ove forse per la prima volta in letteratura, ci si cimenta nel riprodurre in accenti di grande poesia non già il contenuto dei dibattiti filosofici e teologici che si svolgevano all’interno dei conventi e delle università, ma la salmodìa stessa, e gli inni che di solito si rivolgevano a Dio, alla Vergine, ai Santi. San Bernardo di Chiaravalle era l’uomo più adatto a recitare tali salmodìe, lo stesso che aveva riempito di monasteri cistercensi l’intera Europa, e con essi di musica ed inni salmodianti le chiese che con essi venivano edificati.

VERGINE MADRE, FIGLIA DEL TUO FIGLIO
UMILE E ALTA PIU’ CHE CREATURA,
TERMINE FISSO D’ETTERNO CONSIGLIO,
TU SEI COLEI CHE L’UMANA NATURA
NOBILITASTI SI’ CHE ‘L SUO FATTORE
NON DISDEGNO’ DI FARSI SUA FATTURA.
NEL VENTRE TUO SI RACCESE L’AMORE
PER LO CUI CALDO NELL’ETTERNA PACE
COSI’ E’ GERMINATO QUESTO FIORE.
QUI SE’ A NOI MERIDIANA FACE
DI CARITATE, E GIUSO, INTRA I MORTALI,
SE’ DI SPERANZA FONTANA VIVACE.
DONNA SE’ TANTO GRANDE E TANTO
VALI – CHE QUAL VUOL GRAZIA ED A TE NON RICORRE – SUA DISIANZA VUOL VOLAR SENZ’ALI. – LA TUA BENIGNITA’ NON PUR SOCCORRE – A CHI DOMANDA, MA MOLTE FIATE – LIBERAMENTE AL DIMANDAR PRECORRE. – IN TE MISERICORDIA IN TE PIETATE, – IN TE MAGNIFICENZA, IN TE S’ADUNA – QUANTUNQUE IN CREATURA E’ DI BONTADE. – OR QUESTI CHE DALL’INFIMA LACUNA – DELL’UNIVERSO INFIN QUI HA VEDUTE – LE VITE SPIRITUALI AD UNA AD UNA – SUPPLICA A TE, PER GRAZIA, DI VIRTUTE – TANTO CHE POSSA CON LI OCCHI LEVARSI –
PIU’ ALTO VERSO L’ULTIMA SALUTE. –
E IO CHE MAI PER MIO VEDER NON ARSI – PIU’ CH’I FO PER LO SUO, TUTTI MIEI PRIEGHI – TI PORGO, E PRIEGO CHE NON SIENO SCARSI – PERCHE’ TU OGNI NUBE
LI DISLEGHI – DI SUA MORTALITA’ CO’ PRIEGHI TUOI – SI’ CHE ‘L SOMMO PIACER LI SI DISPIEGHI. – ANCOR TI PRIEGO, REGINA, CHE PUOI – CIO’ CHE TU VUOLI, CHE CONSERVI SANI, – DOPO TANTO VEDER, LI AFFETTI SUOI. – VINCA TUA GUARDIA I MOVIMENTI UMANI: – VEDI BEATRICE CON QUANTI BEATI – PER LI MIEI PRIEGHI TI CHIUDON LE MANI!
Già nel XXIII canto del Paradiso si era trattato della Vergine Maria come “la rosa” in che il Verbo divino carne si fece allorchè così pregava:
PERCHE’ LA FACCIA MIA SI’ T’INNAMORA – CHE TU NON TI RIVOLGI AL BEL GIARDINO – CHE SOTTO I RAGGI DI CRISTO S’INFIORA? – QUIVI E’ LA ROSA IN CHE IL VERBO DIVINO – CARNE SI FECE, QUIVI SON GLI GIGLI – AL CUI ODOR SI PRESE IL BUON CAMMINO – IL NOME DEL BEL FIOR CH’IO SEMPRE INVOCO – E MANE E SERA TUTTO MI RISTRINSE – L’ANIMO AD AVVISAR LO MAGGIOR FOCO
Nella presentazione di Maria come presenza di grazia e di azione nel poema, Dante richiama la dottrina teologica della maternità divina, della Vergine theotokos come fu proclamata nel concilio di Efeso, e Colui che da Lei nasce non è la natura umana, ma il Verbo sussistente nella natura umana, e poichè il Verbo è Dio Maria è veramente Madre di Dio. Tuttavia Dante non poteva essere aggiornato sugli sviluppi della dommatica mariologica, e non conosceva neppure il dogma dell’Immacolata concezione e quello dell’Assunzione.
Dinanzi alla bellezza di Maria tuttavia il poeta si dichiara incapace di proseguire, e tuttavia tenta una descrizione, che per certi versi appare di ineguagliabile bellezza.
L’ultimo atto della cantica del Paradiso di Dante, rappresenta, oltre alla chiusura del poema, il momento più alto della poesia fatta da mano d’uomo, risolvendosi in quell’ “infinito” e nei “sovrumani silenzi” di memoria leopardiana. Il poeta è rimasto solo, privo persino dell’ultima guida San Bernardo, e nelle ultime terzine del poema rappresenta se stesso in preda ad una condizione di estasi, non però nella fase dell’annichilimento e profondamento nella visione con perdita della vigilanza sensitiva, ma di estasi consapevole e vigile, tanto da rimanere capace di descrivere la visione.
Nell’incipit della cantica del Paradiso il poeta aveva promesso di offrire la materia al lettore con i versi: “ Veramente quant’io del regno santo – potei far tesoro, sarà ora materia del mio canto”
ove nella locuzione “veramente” vi è tutta la convalida ai riferimenti piuttosto che a cose irreali, a cose reali. Tutto quanto per il passato era andato a contrassegnare il vivere umano in termini di rappresentazione del reale, ora per la prima volta veniva utilizzato per significare la materia del mistero, che così da irreale diventa reale, da eterno diventa quotidiano, da soprannaturale naturale, da impossibile possibile, da astratto concreto, in virtù di quella mediazione, di quel fuoco prometeico che è la poesia. Ciò significano le espressioni :
“Trasumanar significar per verba non si porria”
Certo non è la poesia nella storia del suo passato già trascorso, ma trattasi di poesia del tutto nuova, come nuovo è il personaggio che la costruisce, unico forse, se gli è riuscito di trasferire in poesia i contenuti non solo della filosofia, ma anche della teologia, e, con i limiti innanzi accennati, della mistica.
Nell’ultimo canto del Paradiso si attua quel tentativo, che è caratteristico di ogni grande artista, di umanizzare, vivacizzare e persino animizzare la materia dalla quale trae l’ispirazione, e Dante, che appare il sommo artista della letteratura di tutti i tempi, è tutto proteso a costringere i “divina misteria” nelle forme e negli aspetti più consentanei all’uomo, al fine di antropomorfizzare o con il termine da lui coniato, “trasumanare” ciò che prima non era stato possibile; in forza dell’accrescimento di tale vista interiore lui stesso viene a penetrare il mistero dell’incarnazione del Verbo divino in esecuzione del volere del Padre, che quasi, con una operazione di uguale segno, effettuato con dei segmenti di intersecazione, va ad anticipare e quasi vanificare l’opera del poeta, umanizzando il divino (Verbum Caro factum), dando contenuto di umanità a ciò che in precedenza non si era mai realizzato neppure con il logos di marca ellenistica, metamorfizzando il Deus Absconditus in una nuova forma, di un Dio cioè il quale appare nella forma di uomo. Trattasi in realtà della traduzione in termini di altissima poesia del prologo del vangelo giovanneo.
Come non comprendere l’arcano della espressione “trasumanar” se non leggendo i versi del trionfo della visione del fiume celeste e della plenitudine angelica così espressa nei versi del XXXI Paradiso
Così mi circunfulse luce viva; – e lasciommi fasciato di tal velo – del suo fulgor, che nulla m’appariva – E vidi lume in forma di rivera – fluvido di fulgore, intra due rive – dipinte di mirabil primavera. – Di tal fiumana uscian faville vive, – e d’ogni parte si mettien nei fiori, – quasi rubin che oro circunscrive. – Poi come inebriate dalli odori, – riprofondavan sè nel miro gurge; – e s’una intrava, un’altra n’uscia fori. – Anche soggiunse: il fiume e li topazi – ch’entrano ed escono e ‘l rider dell’erbe – son di lor vero umbriferi prefazi.
Già in precedenza nel descrivere tale fenomeno di accecamento così si esprime:
Ahi quanto ne la mente mi commossi – quando mi volsi per veder Beatrice – per non poter veder, ben che io fossi – presso di lei e nel mondo felice!
Perdendo ora la vista il poeta acquista più forza e capacità maggiore per sostenere il graduale ampliarsi della più alta visione.
Con la figurazione della grazia e l’accrescimento di capacità a sostenere la potentissima luce, il poeta vive una vicenda simile a quella vissuta da Paolo sulla via di Damasco, come attestato da lui stesso al principio del poema. Dante è consapevole di portare un messaggio proponendosi all’umanità di tutti i tempi quale “poeta-veggente”.
Allorchè poi si cimenta nel tentativo di descrivere la divina teofanìa egli ricorre all’idea del “punto”:
E COM’IO MI RIVOLSI E FURON TOCCHI – LI MIEI DA CIO’ CHE PARE IN QUEL VOLUME – QUANDUNQUE NEL SUO GIRO BEN S’ADOCCHI – UN PUNTO VIDI CHE RAGGIAVA LUME – ACUTO SI’ CHE ‘L VISO CH’ELLI AFFOCA – CHIUDER CONVIENSI PER LO FORTE ACUME
Subito dopo il poeta descrive una visione avente come oggetto l’universo, l’unità e la Trinità divina, ed infine l’umanità divina. Tutto l’universo creato e tutti i mondi sia finiti che infiniti erano racchiusi nella visione. Ciò che per l’universo si squaderna si vedeva legato in un libro (della vita) nella profondità della divinità.
E non solo l’insensibile, ma anche il sensibile (sostanza ed accidenti) tutti conflati insieme, al punto da esserne quasi resa impossibile la più minuta descrizione. Trattasi invero del “LOGOS” annunciato nel prologo giovanneo “senza del quale nulla era possibile di tutto ciò che è stato fatto”. Tutti i telescopi del mondo, tutti gli osservatori astronomici, tutti gli scienziati e cosmologi di tutti i tempi riuniti assieme, non darebbero conto di quanto formava oggetto di tale cosmica, fantasmagorica, super – visione della Gloria di Dio nell’alto dei cieli!
BERNARDO M’ACCENNAVA E SORRIDEA -PERCH’IO GURDASSE SUSO; MA IO ERA -GIA’ PER ME STESSO TAL QUAL EI VOLEA- CHE’ LA MIA VISTA VENENDO SINCERA – E PIU’ E PIU’ INTRAVA PER LO RAGGIO – DE L’ALTA LUCE CHE DA SE’ E’ VERA -DA QUINCI INNANZI IL MIO VEDER FU MAGGIO – CHE ‘L PARLAR NOSTRO, CH’A TAL VISTA CEDE – E CEDE LA MEMORIA A TANTO OLTRAGGIO. – QUAL E’ COLUI CHE SOMNIANDO VEDE – CHE DOPO IL SOGNO LA PASSIONE IMPRESSA – RIMANE E L’ALTRO A LA MENTE NON RIEDE – COTAL SON IO CHE QUASI TUTTA CESSA –
MIA VISIONE ED ANCOR MI DISTILLA – NEL COR IL DOLCE CHE NACQUE DA ESSA. COSI’ LA NEVE AL SOL SI DISIGILLA – COSI’ AL VENTO NE LE FOGLIE LIEVI -SI PERDEA LA SENTENZA DI SIBILLA. O SOMMA LUCE CHE TANTO TI LEVI – DA’ CONCETTI MORTALI, A LA MIA MENTE – RIPRESTA UN POCO DI QUEL CHE PAREVI- E FA LA LINGUA MIA TANTO POSSENTE – CH’UNA FAVILLA SOL DELLA TUA GLORIA – POSSA LASCIARE ALLA FUTURA GENTE – CHE’ PER TORNARE ALQUANTO A MIA MEMORIA – E PER SONARE UN POCO IN QUESTI VERSI – PIU’ SI CONCEPERA’ DI TUA VITTORIA. – IO CREDO, PER L’ACUME CH’IO SOFFERSI – DEL VIVO RAGGIO CH’IO SAREI SMARRITO – SE LI OCCHI MIEI DA LUI FOSSERO AVERSI. – E’ MI RICORDA CH’IO FUI PIU’ ARDITO – PER QUESTO A SOSTENER TANTO CH’IO GIUNSI – L’ASPETTO MIO COL VALORE INFINITO. – OH ABBONDANTE GRAZIA OND’IO PRESUNSI – FICCAR LO VISO PER LA LUCE ETTERNA – TANTO CHE LA VEDUTA VI CONSUNSI! – NEL SUO PROFONDO VIDI CHE S’INTERNA – LEGATO CON AMORE IN UN VOLUME – CIO’ CHE PER L’UNIVERSO SI SQUADERNA – SUSTANZE E ACCIDENTI E LOR COSTUME – QUASI CONFLATI INSIEME, PER TAL MODO – CHE CIO’ CH’IO DICO E’ UN SEMPLICE LUME. – LA FORMA UNIVERSAL DI QUESTO NODO – CREDO CH’IO VIDI PERCHE’ PIU’ DI LARGO – DICENDO QUESTO MI SENTO CH’I’ GODO.- UN PUNTO SOLO M’E’ MAGGIOR LETARGO – CHE VENTICINQUE SECOLI A LA ‘MPRESA – CHE FE’ NETTUNO AMMIRAR L’OMBRA D’ARGO – COSI’ LA MENTE MIA TUTTA SOSPESA – MIRAVA FISSA IMMOBILE E ATTENTA – E SEMPRE DI MIRAR FACIESI ACCESA – A QUELLA LUCE COTAL SI DIVENTA – CHE VOLGERSI DA LEI PER ALTRO ASPETTO – E’ IMPOSSIBIL CHE MAI SI CONSENTA – PERO’ CHE ‘L BEN, CH’E’ DEL VOLERE OBIETTO – TUTTO S’ACCOGLIE IN LEI, E FUOR DI QUELLA – E’ DEFETTIVO CIO’ CH’E’ LI’ PERFETTO.
Il mondo invisibile e visibile, le cose materiali e quelle dello spirito, le cause libere e quelle necessarie, le cose occulte e quelle manifeste, mobilia, immobilia, fortuita, certa, hanno in Dio una ragione che non può essere altra che quella dell’amore. Il poeta è assorbito nella contemplazione di tutto l’universo creato, in una sorta di visione del “Logos” per il quale e nel quale tutte le cose sono state fatte, e poiché tali cose sono composte di sostanze ed accidenti, egli ne vede le parti, ma vede anche il legame di tali parti, le cose visibili e le invisibili, le contingenti e le eterne, le cose mobili ed immobili, tutto racchiuso nella visione, attuatasi nell’essenza divina, resa possibile alle capacità umane per mezzo della speciale grazia “santificante” concessa da Dio anche al poeta-veggente.
Quel che maggioremente lascia stupefatti dell’esperienza del poeta, non è tanto il racconto mirabile del suo viaggio nell’al di là, che potrà pur essere il frutto di un volo fantastico concesso ad uno dei più dotati uomini esistiti sulla terra, da considerare pursempre limitato allo specifico del genere letterario, quanto l’effetto postumo che desta nell’animo di coloro che nel tempo vivono un’esperienza simile a quella del poeta, entrando a contatto con tale sublime opera. E, si badi bene, non è che la Commedia dantesca si presti ad essere visitata saltuariamente, in quanto tutte le volte che il lettore rilegge il testo, ne riceve un’impressione rinnovata, e per certi versi terapeutica, quasi che chi legge, si trovi in presenza di un testo sacro. Che l’opera dantesca abbia sempre ingenerato nel lettore quel sentimento riverenziale che si prova dinanzi al libro sacro, è cosa risaputa, ma qui vi è di più, in quanto l’opera stessa si impone in termini didascalici e per certi versi preparatoria alla comprensione del dogma cattolico nella sua interezza.
Il mistero trinitario e dell’incarnazione del Verbo sono spiegati agli uomini in termini reali ma anche poetici e sublimi, non con l’aridità ripetitiva del teologo o dell’oratore sacro, ma con il fuoco che proviene dallo Spirito divino, che conferisce al poeta veggente una capacità superiore che consiste nel comprendere e far comprendere, gustare e far gustare, amare e far amare.
ORMAI SARA’ PIU’ CORTA MIA FAVELLA – PUR A QUEL CH’IO RICORDO, CHE D’UN FANTE – CHE BAGNI ANCOR LA LINGUA A LA MAMMELLA. – NON PERCHE’ PIU’ CH’UN SEMPLICE SEMBIANTE – FOSSE NEL VIVO LUME CH’IO MIRAVA – CHE TAL E’ SEMPRE QUAL S’ERA DAVANTE – MA PER LA VISTA CHE S’AVVALORAVA – IN ME GUARDANDO, UNA SOLA PARVENZA – MUTANDOM’IO A ME SI TRAVAGLIAVA. – NE LA PROFONDA E CHIARA SUSSISTENZA – DE L’ALTO LUME PARVERMI TRE GIRI – DI TRE COLORI E D’UNA CONTENENZA; – E L’UN DA L’ALTRO COM’IRI DA IRI – PAREA REFLESSO, E ‘L TERZO PAREA FOCO – CHE QUINCI E QUINDI IGUALMENTE SI SPIRI. – OH QUANTO E’ CORTO IL DIRE E COME FIOCO – AL MIO CONCETTO! E QUESTO, A QUEL CH’I VIDI – E’ TANTO, CHE NON BASTA A DICER POCO. – O LUCE ETTERNA CHE SOLA IN TE SIDI – SOLA T’INTENDI E DA TE INTELLETTA – E INTENDENTE TE, AMI E ARRIDI! – QUELLA CIRCULAZION CHE SI’ CONCETTA – PAREVA IN TE COME LUME REFLESSO – DA LI OCCHI MIEI ALQUANTO CIRCUNSPETTA – DENTRO DA SE’ DEL SUO COLORE STESSO – MI PARVE PINTA DELLA NOSTRA EFFIGE; – PER CHE ‘L MIO VISO IN LEI TUTTO ERA MESSO. – QUAL’E’ IL GEOMETRA CHE TUTTO S’AFFIGE – PER MISURAR LO CERCHIO, E NON RITROVA – PENSANDO, QUEL PRINCIPIO OND’ELLI INDIGE, – TAL ERA IO A QUELLA VISTA NOVA: – VEDER VOLEVA COME SI CONVENNE – L’IMAGO AL CERCHIO E COME VI S’INDOVA; – MA NON ERAN DA CIO’ LE PROPRIE PENNE: – SE NON CHE LA MIA MENTE FU PERCOSSA – DA UN FULGORE IN CHE SUA VOGLIA VENNE. – A L’ALTA FANTASIA QUI MANCO’ POSSA; – MA GIA’ VOLGEVA IL MIO DISIO E ‘L VELLE – SI’ COME ROTA CH’IGUALMENTE E’ MOSSA – L’AMOR CHE MOVE IL SOLE E L’ALTRE STELLE.

711 thoughts on “Canto XXXIII”

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