Canto XXVI

Canto XXVI dell’Inferno di Dante Alighieri
lettura e commento a cura del Prof.Gaetano Stea

Canto XXVI dell’Inferno

L’Ulisse di Dante è la vox clamantis di un deserto lontano e solitario. Dante parla per bocca di Ulisse, e dietro Ulisse c’è il poeta Omero con il carico di poesia epica nascente dalla lontananza di un tempo popolato di eroi e di divinità.
Il poeta, il quale è apparso subito, sin nei primissimi canti dell’Inferno, successore di Virgilio, ora prolunga la sua ascendenza di nobiltà poetica sino ad Omero (aveva detto nel secondo canto “ed io fui sesto fra cotanto senno”), specie laddove lascia a Virgilio il compito di formulare per primo le proprie istanze ad Ulisse.
Come accadrà per Ugolino, impossibilitato a raccontare ai posteri la sua immane tragedia svoltasi nel chiuso di una torre sigillata alla maniera di un sepolto vivo, e che tuttavia riesce, attraverso l’espediente escogitato dal poeta, a trasferire in lettura poetica quello che in metafora era stato il “mal sonno che del futuro mi squarciò il velame”, così accade ora per Ulisse, il quale tenta di raccontare, ricorrendo alla mediazione poetica, la sua tragedia conclusasi nei fondali di un mare in tempesta, e che, diversamente, non sarebbe stata mai raccontata da nessun altro uomo vivente.
Per certi versi anche tale finzione poetica è racchiusa in un sogno, poichè il poeta sogna liricamente l’incontro con Ulisse, il quale utilizza un linguaggio nuovo ed anche profondo, per lanciare un insegnamento valido per gli uomini di tutti i tempi e per tutte le culture e religioni. Tale dottrina, racchiusa sotto il velame dei versi inficiati di straniamento, propone l’impresa di un viaggio avventuroso all’interno della conoscenza, che a sua volta presuppone la virtù. I compagni di Ulisse, per essere all’altezza della grande avventura cui erano invitati e stimolati, dovevano riuscire a coniugare conoscenza e virtù, in quanto trattasi di qualità umane del tutto inscindibili tra di loro. Al fine di evitare di essere assimilati ai bruti, secondo l’esortazione di Ulisse, negli uomini devono risultare coniugate conoscenza e virtù, sapienza e scienza, questa per operare e quella per conoscere.
Il viaggio di Ulisse finisce perciò per rappresentare la metafora del viaggio dell’ uomo all’ interno di se stesso, al fine di scoprire l’ essenza stessa di sè. Chi può mai prescindere dalla conoscenza di sè nell’approccio alla scienza? Il “gnoti seautòn” è perciò inizio di conoscenza. E, d’altra parte, nessuno che conosca interamente se stesso potrà mai dirsi sfornito di virtù.
Se è vero il principio contenuto nella filosofia aristotelica che “operari sequitur esse”, (l’operare consegue all’essere) la virtù segue di necessità la conoscenza, e chi veramente conosce se stesso, è anche virtuoso nell’ operare.
Cosa rappresenta la
montagna bruna per la distanza
ed alta tanto quanto veduta non avea alcuna”?
Trattasi di caratteristiche non comuni alle montagne: il colore bruno e l’altezza smisurata. Ma vi è un elemento di ulteriore novità: da tale “nova terra” si scatenò un turbine
che percosse del legno il primo canto
L’evento straordinario si somma all’avventura straordinaria. La montagna era pur’ essa straordinaria per l’altezza che nessuno mai ne aveva vista una simile. Il turbine, pure esso straordinario, trascinò con sè la nave ed i suoi occupanti.
Per l’antichità pagana, le divinità si presentavano con le caratteristiche della terribilità. Il mistero pagano non era stato mai rivelato, ed il tentativo di qualsivoglia essere umano di infrangere l’ alone arcano del mistero, trovava una risposta immediata e severa nelle divinità della classicità pagana. Ne ha fatto esperienza per primo Orfeo il quale era riuscito con il proprio canto a commuovere le divinità infernali, ma non anche a ricondurre con sè Euridice, rapita definitivamente dagli abitatori dell’Ade, alla maniera di Proserpina. Ne ha fatto pure esperienza in successione Edipo, Priamo, Achille, Agamennone, Giasone ed infine Ulisse. Ulisse rappresenta il punto di passaggio dalla classicità pagana all’annuncio cristiano, quasi estremo ammonimento agli uomini di ogni tempo, che l’avventura della conoscenza non può mai essere disgiunta da tutto ciò che l’oggetto della conoscenza stessa rappresenta. Qualora all’ interno del percorso della conoscenza l’uomo dovesse per avventura incontrarsi con il divino, egli dovrebbe arretrare dinanzi a tale evento mirabile, ed avvertire tutta intera la propria vera e profonda dimensione umana, fatta di povertà di spirito e di pochezza, rispetto alla grandezza ed all’ immensità di Dio stesso, che ha inteso rivelarsi nell’iter del percorso conoscitivo.
L’Ulisse di Dante possiede tale doppia pregnanza, quella di essere il testimone delle avventure degli eroi pagani, e della loro audacia dinanzi alle problematiche misteriose presenti in ogni età, e perciò anche nell’antichità pagana, e l’annunciatore alla modernità di un messaggio di autentico valore umano, finalizzato a rendere edotti gli uomini che l’annuncio cristiano non può prescindere affatto dai presupposti sapienziali del pensiero antico, ma neppure dall’attuazione di tali messaggi in atti concreti o in atti ad opera di uomini veri, provvisti delle virtù morali.
Il poeta Dante con la Commedia si era prefisso l’arduo compito di additare nella speculazione degli antichi filosofi l’avvìo del mirabile percorso conoscitivo di ciascun uomo, ma anche di individuare nella modernità dell’avvento cristiano, gli esempi di eroismo nella pratica delle virtù, rinvenibili nelle opere dei campioni di eroismo cristiano quali San Francesco, San Domenico, San Bernardo, San Benedetto e Sant’Agostino. Quando il poeta fa dire ad Ulisse che l’uscita degli uomini dalla condizione di bruti, non può prescindere affatto dalla pratica della virtù e dal percorso della “conoscenza”, non intende far altro che indicare come nella storia appaia incorporato un provvidenziale progetto teso alla salvezza di ciascun uomo, ottenibile mediante l’esercizio delle virtù morali, propugnate dai grandi esempi di uomini vissuti in epoca cristiana. Ma senza con ciò intendere bollare di estraneità a tale progetto tutta quanta la storia antica, la quale ha invece costituito la base ed il fondamento dell’annuncio cristiano, attraverso l’elaborazione dello stesso pensiero antico formulato da Socrate prima, e quindi formalizzato per iscritto da Aristotile e da Platone.
Perciò con la dicotomia “virtute e canoscenza” il poeta intendeva indicare l’antichità pagana e la modernità cristiana, la sapienza venutasi affermando attraverso le prime esperienze orfico-pitagoriche, risoltesi poi nella compattezza dei sistemi filosofici della classicità greca, e la nuova etica scaturita dal messaggio cristiano, che, prima di proporsi con astratte enunciazioni teoriche, si racchiudeva in puri messaggi di vita morale, come appunto le beatitudini evangeliche stanno ancora a dimostrare.
Se i privilegiati del vangelo sono i “makariòi oi ptokòi” i poveri di averi ed i ricchi di spirito, sono gli affamati e gli assetati di giustizia, sono i pacifici, i misericordiosi e tutti quelli che piangono perchè saranno consolati nel regno di Dio, allora non è affatto inattuale il pensiero antico, nella misura in cui è riuscito a farci intendere che l’incontro con il divino attraverso la via della “conoscenza”, non può che produrre il risultato del possesso del divino nel regno preparato da Dio stesso, per coloro che hanno saputo ben attualizzare la scoperta della conoscenza e viverla nel concreto con la pratica assidua delle beatitudini evangeliche, che continuano ad esortare gli uomini di ogni tempo ad essere coerenti con quanto hanno conosciuto e sperimentato, cioè lo spirito e la verità (pnèuma kài alèteia), così come annunciato nel primo evangelo.
L’uomo nuovo rimodellato dall’annuncio cristiano è colui che riesce a comprendere come il percorso conoscitivo si integra perfettamente con quello operativo della virtù, che rende l’uomo capace di conoscere la verità, per cui se da una parte la verità viene raggiunta tramite tale nuovo modo di conoscere, appare ugualmente vero che l’operare secondo virtù è conseguenziale e per certi versi interattivo, e quindi sinergico, con tale conoscenza, per cui lo spirito e la verità si risolvono nell’unicità del concetto di uomo divenuto spirituale per mezzo della verità rivelata.
IL “DANTE” ULISSE
Si è costantemente ribadito da parte dei conoscitori della Commedia di Dante, come quasi tutti i maggiori personaggi che popolano il poema, riflettono per certi versi l’animo dello stesso poeta. Ciò è valso soprattutto per Ulisse e per il Conte Ugolino. Da parte della critica si è sostenuto che la raffigurazione del Conte Ugolino riflette l’anima tragica di Dante, e, per certi versi, anche quella di Ulisse riflette l’anima travagliata di Dante. La raffigurazione del Conte è apparsa vicina al poeta poichè la sua tragedia si è consumata nel chiuso di una torre ove non mise mai piede anima di vivente, così come accadde al poeta, costretto all’esilio, ed il cui peso di dolore e di solitudine fu avvertito per intero dal poeta stesso. Il tradimento di cui fece esperienza il Conte ad opera dell’Arcivescovo Ruggieri, richiama l’altro tradimento occorso al poeta ad opera di un papa, Bonifacio VIII, che prima lo invitò a Roma come ambasciatore di Firenze, e subito dopo lo trattenne con inganno presso di sè, onde permettere nel frattempo ai fiorentini di condannarlo a morte in contumacia.
La somiglianza con l’Ulisse appare pure evidente. Ulisse naviga per il mondo alla ricerca di un “sè” avido di conoscenza, e Dante naviga all’interno di sè per scoprire attraverso il suo poema di cosa lui stesso è fatto, onde conoscere meglio i propri destini eterni, nell’oltremondo. Ciò appare evidente nell’incipit della cantica del Paradiso allorchè il poeta usa la metafora della navigazione, per indicare che il suo viaggio è solitario, ove recita:
O voi che siete in piccioletta barca / dietro al mio legno che cantando / non vi mettete in pelago, che forse / perdendo me rimarreste smarriti / l’acqua ch’io prendo gia mai non si corse./Voi altri pochi che drizzaste il collo / per tempo al pan de li angeli, del quale / vivesi qui ma non sen ven satollo, / metter potete ben per l’alto sale / vostro naviglio, servando mio solco / dinanzi a l’acqua che ritorna equale”
Il Dante del Paradiso che naviga con i suoi pochi amici “per l’alto sale” riflette bene la metafora dell’Ulisse descritto nell’Inferno il quale, nella navigazione anche da lui fatta con pochi amici, trova il modo di trapassare i confini delle possibilità umane, attraverso l’esperienza del “folle volo”, finendo però per perdersi nella tragedia del naufragio dell’ assoluto nulla. Al poeta non accade però la stessa sorte, poichè il suo è un viaggio di diverso segno, in quanto viene effettuato nutrendosi con il “pan de li angeli” che, nel responsorio liturgico da cui ha attinto il poeta, risulta essere il “cibus viatorum”, e perciò il viatico per raggiungere una mèta diversa dalla “montagna bruna per la distanza”, tendendo al raggiungimento dello scopo della conoscenza che coincide con la stessa illuminazione divina. Ed è per questo che il poeta avverte che quei pochi che seguono la sua scia “servando mio solco”, si troveranno dinanzi non più al turbine che travolge, ma “dinanzi all’acqua che ritorna equale”, secondo la stessa definizione che il poeta dà della divinità,
“ell’è quel mar al qual tutto si muove
ciò ch’ella cria e che natura face”
Il mare turbinoso della conoscenza riguardante le cose di questo mondo, e cioè la scienza, non porta l’uomo molto lontano, poichè lo induce spesso a sviare verso altri lidi, costituiti dalle perverse ideologie, derivanti tutte dalla superba idolatria.
Il mare sereno “al qual tutto si muove” e quello come “l’acqua che ritorna equale” rappresentano per il poeta il percorso conoscitivo che ha come mèta la divina illuminazione. Anche per il poeta Dante la certezza della fede è principio di conoscenza, e tale conoscenza si può raggiungere soltanto per mezzo della verità di provenienza dallo spirito, “spirito e verità” che rappresentano le due parole chiave del vangelo, ove si parla pure dei “veri adoratori del Padre”, e dove viene pure definita la gloria del Verbo, pieno di “grazia e verità”.
In questo canto perciò il poeta Dante ci consegna un Ulisse scolpito a tutto tondo alla pari di altre memorabili figure quali Farinata, il Conte Ugolino, ma soprattutto di Caronte perchè entrambi risultano accomunati dalla metafora nautica.
Come Caronte traghetta le anime dei morti da una riva all’altra dell’Inferno, Ulisse, personaggio cui sono annessi molteplici significati, traghetta i suoi compagni verso una mèta misteriosa e forse proibita agli uomini; si tratta invero della <> che Ulisse non raggiungerà mai, ma che invece è dato al Poeta di raggiungere, e come a lui, anche a tutti quelli che intraprendono con lui l’avventura del viaggio della conoscenza, e della penetrazione del mistero delle cose divine, precluso al mondo pagano.
Quindi il canto finisce per diventare propedeutico alla comprensione del viaggio di Dante verso i regni del purgatorio e del paradiso, la cui conoscenza non è data a tutti, come suona nei sublimi versi già in precedenza da noi richiamati:
L’acqua ch’io prendo giammai non si corse
Voialtri pochi che drizzaste il collo
per tempo al pan de li angeli, del qual
vivesi qui ma non sen ven satollo
metter potete ben per l’alto sale
vostro naviglio, servando mio solco
dinanzi all’acqua che ritorna equale
Il cammino di Dante nei tre regni finisce così per diventare il percorso dell’umanità tutta, e la mèta non è raggiungibile da chiunque, ma solo da chi sarà capace di conseguire “virtute e canoscenza”, un binomio che rappresenta la chiave di lettura di tutto il poema, e forse anche della vita dell’umanità.
E neppure va pretermesso come l’unità dell’opera è certificata da tale riproduzione, sia pure in termini di analogia e metafora, dell’Ulisse che, navigando, anticipa il viaggio del poeta nel Paradiso, coi “voi altri pochi”.
E così Paradiso ed Inferno finiscono per richiamarsi ed interpretarsi reciprocamente, poichè unico risulta essere il messaggio dell’opera, che ne rappresenta la sintesi, la continuità e lo scopo.
E tale sintesi è ancorpiù evidente nel conte Ugolino, il cui urlo macabro dall’interno della cupa torre sta lì a significare, nei secoli dopo Dante, la sintesi delle sofferenze universali, e che perciò richiama il grido dell’uomo-Dio sulla croce “Elì Elì lamà sabactanì”, quasi sintesi e giudizio, compimento e senso di quell’antica memoria del paradiso originale cui tende ogni essere, nello sforzo di trarsi fuori dall’occulto dramma dell’esistere, essendo privo della conoscenza dell’uomo della prima creazione. La Consecutio Figurarum
Partendo da Caronte sino ad Ulisse e spingendosi sino al Conte Ugolino si avverte, nel percorso della costruzione dei personaggi da parte del poeta Dante, una progressione non solo di carattere ideale ma anche reale, se si intende come reale l’impronta di se stesso che il poeta tratteggia nei più riusciti personaggi della Commedia.
Le stesse caratteristiche dei migliori prodotti del genio michelangiolesco appartengono all’autore stesso, la pensosità, lo sguardo profondo nel passato e nel futuro, il timore delle cose riguardanti l’oltremondo, il dissidio tra le aspirazioni dell’anima e quelle meno nobili, che caratterizzano la materia di che l’uomo è composto.
Così accade nei personaggi disegnati a forti tinte dal poeta Dante, nei quali c’è molto di se stesso. In Caronte vi è il labirinto del genio con il carico di filosofia e di teologia combinato mirabilmente in un personaggio descritto con i caratteri di una profonda umanità, e che tuttavia non ha perso nulla di ciò che esso stesso aveva posseduto nella figurazione che ne aveva fatto la classicità pagana. Ulisse, alla pari di Caronte, naviga, ma a differenza del primo, la navigazione è molto più turbinosa e tenebrosa, e non è come il primo lo strumento della giustizia divina, poichè Ulisse è lui stesso oggetto di giustizia, avendo intrapreso un viaggio interdetto agli uomini, quello della presa visione diretta dell’oltremondo pagano. Dietro al personaggio Ulisse vi è la voce del poeta che ammonisce gli uomini di ogni tempo ad intendere nel senso più vero l’insegnamento della virtù e della conoscenza. L’accezione pagana di tali termini non approdava che al nulla assoluto, poichè la conoscenza e la virtù non intese correttamente, generano le ideologie che hanno segnato in negativo la storia, e che sono il frutto dell’orgoglio filosofico e della superba idolatria. La storia degli uomini che si sono lasciati condurre dalle false ideologie, si è risolta nella collisione con la montagna “bruna” e grande “come non se ne era mai vista alcuna” delle rivoluzioni ad esito infausto, ed era precipitata nei fondali di una procellosa vicenda di passioni politiche e di malefici tiranni. La ribellione di Lucifero che continua a perpetuarsi nella storia, alla maniera di un sogno malefico, negli uomini suggestionati dalle false dottrine e dai maestri ciechi che le diffondono, “i ciechi che si fanno duci”, continuerà a contrassegnare la storia stessa con le stesse caratteristiche del passato, in una perpetua lotta tra Caino ed Abele, e con la tenerezza di un Dio che insegue il primo per chiedere ragione del crimen horrendum, il fratricidio nei confronti di Abele, mediante l’introduzione della morte nella storia, per mano di un suo simile, e per giunta fratello.
Il poeta ha inteso annettere alla tragedia nautica del suo Ulisse, significazioni escatologiche e teologiche. La vera conoscenza che l’uomo deve perseguire e che trova il naturale approdo nella pratica delle virtù cristiane, è quella delle beatitudini evangeliche, ove appare pure una montagna dalla quale si diparte il discorso eterno ed universale, ma ad ammonire non è più l’uomo più astuto della storia che inventò lo stratagemma del cavallo di Troia, ma un’ essere-ipostatico, e quindi sia uomo che Dio, umile ed alto, sapiente e comprensibile, nocchiero e compagno di viaggio, disarmante per la semplicità, ma profondissimo nella verità dei messaggi lanciati, lui stesso spirito e verità. Le parole dell’essere ipostatico “UOMODIO” stanno lì a risuonare come una vox clamantis da una lontananza bimillenaria, e non saranno mai dimenticate dagli uomini sapienti della sapienza evangelica, dai quali all’astuzia è stata preferita la semplicità, alla potenza ed alla superbia la giustizia e la pace, e dove i bisogni essenziali degli uomini quali la fame e la sete sono stati usati come paradigma logico-sistematico per indicare le imprescindibili necessità dello spirito, che si deve nutrire e bere della giustizia, della misericordia e della pace, allorchè si sarà instaurato quel regno della giustizia, della misericordia e della pace annunciato dall’alto della montagna delle beatitudini.
Dante veicolo delle verità evangeliche, ed il suo poema da lui stesso definito sacro (“sacrato poema”) sta lì ad ammonire sia gli ammiratori che i suoi detrattori, che si può dire tutto, ma non che il poema non sia l’opera letteraria più rappresentativa dell’era cristiana, quasi aggiornamento e traduzione in versi dell’opera maior, “la Città di Dio” e, per certi versi, anche il “De Trinitate” di Sant’Agostino, che il poeta conosceva in profondità.
Con l’ultima figura in esame, quella del Conte Ugolino, il poeta porta a compimento il suo percorso conoscitivo, mediante l’approdo alla conoscenza di sè, nell’ordine psicologico, e, con linguaggio moderno, psicanalitico.
L’immedesimazione del poeta con la figura del Conte è il prodigio più riuscito dell’intera composizione poetica, in quanto nello studio del personaggio Ugolino, balza in chiara evidenza come il poeta racconti se stesso, nella forma del dialogo dinanzi allo specchio, nel quale riluce l’immagine del poeta nel suo lugubre lamento di esule solitario, privo di speranza, e soprattutto, dubbioso della propria sorte.
Chiunque legge il canto XXXIII dell’Inferno si accorge di essere di fronte ad una maniera tutta singolare di nascondere, e nello stesso tempo far apparire di scorcio un soggetto tormentato, solitario e, forse, disperato. Il grido lancinante e lugubre del Conte chiuso nella torre in attesa della propria morte, dopo avere sperimentato quella dei propri figli, della durata di tre lunghi giorni, fa il paio con la lunga agonia del poeta esule che si esprime nei versi
sì come sa di sale lo pane altrui
e sì come è duro calle
lo scendere e ‘l salir per l’altrui scale.
E se ‘l mondo sapesse il cor l’elli ebbe
mendicando sua vita a frusto a frusto,
assai lo loda, e più lo loderebbe
La tragedia del Conte vittima del tradimento e dell’inganno degli uomini del suo tempo, porta immediatamente il lettore alla memoria dell’altro tradimento cui il poeta stesso è stato fatto segno, anche lui nella notte di un
mal sonno che del futuro mi squarciò il velame
La solidarietà che suscita il racconto del Conte Ugolino si rinnova e si estende anche al poeta Dante, il quale nel tratteggiare così mirabilmente tale personaggio, pensava a sè stesso, e faceva venir fuori dai versi stessi, la sua stessa anima nel momento tragico del suo dolore vissuto in profonda solitudine. La torre dei Gualandi è l’anima di Dante nel buio di un desiderio di libertà di tornare nel suo bel San Giovanni, e nella sua città amata come una madre
ove dormì agnello, nemico ai lupi che gli fanno guerra
Il poeta vuol fare intendere nel tratteggiare la figura del Conte come il passaggio da Caronte ad Ulisse ed infine al Conte Ugolino, vuol rappresentare da una parte il cammino dell’umanità verso il riscatto e la redenzione che si raggiunge passando attraverso la conoscenza e la virtù, ma vuole anche sottolineare come tale percorso non possa affatto prescindere dagli eventi della storia, e della propria vicenda individuale.
Il tradimento e la morte sono due componenti della tragedia individuale dell’uomo, che vede nella separazione dell’anima dal corpo un evento necessario, doloroso e, per certi versi, innaturale, ma che trova la sua spiegazione nella rinascita all’immortalità, promessa a chi ha compreso il messaggio della fede nello spirito e verità realizzato nel Logos.
Anche l’evento più importante della storia quale l’incarnazione del Logos, è passato attraverso tale doppio binario del tradimento da parte degli amici, e della morte contrassegnata dalla solitudine del Getsemani, ma si è risolto nell’angelico annuncio luminoso e consolante del “resurrexit a mortuis”.
Perciò l’urlo del Conte è pur sempre il grido di dolore del poeta, nel momento del racconto della sua anima straziata dalla sofferenza e dalla solitudine interiore, ma appare pure l’annuncio imminente del riscatto e della speranza, rappresentati dal momento escatologico della ripresa della vita dopo la morte, annunciata e sperimentata per primo dallo stesso Logos, apparso in forma umana nella storia.
Chi dovesse ancora nutrire dubbi circa l’unità ispirativa dell’intero poema dantesco, dovrebbe immediatamente ricredersi, al solo riflettere come la cantica dell’Inferno si interpreta alla luce di quella del Paradiso e del Purgatorio e viceversa, di talchè le tre cantiche sono attraversate da una luce comune che le interpreta e giustifica, e ciascuna di essa è come un prisma che, pur riflettendo una luce propria, tuttavia vive di un nucleo essenziale che è comune a tutte le sfaccettature nelle quali la luce si riflette.
La critica meno attenta, ma forse più in voga, ha inteso porre in dubbio la compattezza e la stretta unità ispirativa delle tre cantiche, dando più importanza ad una piuttosto che ad un’altra, nel tentativo di sminuire il valore dell’intero poema dantesco, e riducendolo alla propria portata, all’interno del ristretto criterio estetico inventato ad arte da tali ermeneuti, i quali, continuano rimproverare a Dante di essersi proposto quale campione rappresentativo di un antilluminismo ed antirazionalismo ante litteram, poichè già prima del sorgere di tali ideologie, il poeta le aveva intraviste con il suo forte acume, e quindi bollate come frutto dell’orgoglio filosofico e della superba idolatria.
In tal senso l’opera dantesca è LUX ET ORIGO di tutte le altre opere letterarie, in quanto comprende e riassume tutte le verità nelle quali l’uomo si è dibattuto nel corso del tempo, ed ancora si dibatterà, cosiccome scaturenti da un nucleo centrale ed unico che è la divina illuminazione, ed in tal senso è l’opera letteraria che meglio di tutte le altre celebra la gloria del Dio unico e trinitario che ha dato inizio al mondo, quello terrestre e quello celeste, e che instaurerà l’altro, quello dei nuovi cieli e nuove terre, preannunciato dall’Apocalisse e cantato dalla Commedia la quale si conclude proprio con la sublime terzina orante
e fà la voce mia tanto possente
ch’una favilla sol della tua gloria
possa lasciare alla futura gente
[Mi preme esprimere, in conclusione, un particolare che mi sta a cuore. Avevo inteso mettermi a studiare allo scopo di penetrare a fondo la Commedia di Dante, servendomi volta a volta di alcune chiavi di lettura come l’opera consente di fare, ma l’ultima chiave, quella appunto neoplatonica ed agostiniana, ha rappresentato il cimento finale, e ciò intendendo riferirmi in modo del tutto particolare all’approccio avuto con gli ultimi canti del Paradiso, che mi hanno permesso di spingere sino in fondo il tentativo di varcare il mistero di questo Corpus enciclopedico, che la Commedia rappresenta.Ora mi trovo, si badi bene quasi senza volerlo, a rendere queste mie cogitazioni trasfuse in espressione vocale, a questo privilegiato uditorio, in un contesto tutto agostiniano, e non soltanto dal punto di vista iconografico, visto che la Chiesa ove siamo ospitati, ha avuto come dedicazione prima di S.Agostino, il suo padre spirituale Sant’Ambrogio, come potrete leggere a caratteri cubitali in latino, ed essendo perciò dotata di molte icone ed effigi del Santo, anche perchè intorno al 1500 vennero a sistemarsi i monaci eremitani, che osservano la regola di S.Agostino. (E ciò va spiegato storicamente, poichè durante la dominazione dei duchi di Milano, molti abitanti di quella città si erano trasferiti a Bari, e furono essi ad intitolare una chiesa al loro patrono Sant’Ambrogio) Appare perciò del tutto casuale questa collocazione per il coronamento del mio lavoro, che troverà il giusto e logico approdo nella conferenza della prossima primavera che verterà sulle opere di Sant’Agostino, ”la Città di Dio” e il “De Trinitate”, e che sta pure ad indicare un’altra casualità, in quanto sull’affresco della volta della Chiesa è raffigurata la SS.Trinità, della quale, a detta di Agostino, non è possibile la riproduzione figurale e forse, per certi versi, neppure la trattazione in chiave filosofico-teologica.(postilla alla conferenza tenutasi nella Chiesa di Sant’Anna nella Città Vecchia in Bari)].

853 thoughts on “Canto XXVI”

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