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The days of Easter can also be bright days for a reflection on life and on the human journey in the company of Dante, far from the blinding lights of the television spotlights, far from the celebrated and relevant books of well-known authors.
I will spend the days of Easter in the company of two fabulous and colossal works, by lesser known authors, which were dedicated to Dante and proposed in the seven hundredth anniversary of his death with an unprecedented editorial effort.
The first, signed by Franco Ricordi, published by Mimesis; the second, written by Claudio Widmann, for the Magi Editions. I write fabulous and colossal because both exceed, in three volumes, fifteen hundred pages. Ricordi is a philosopher, actor, director and artistic director of theater; Widmann is a Jungian analyst. They love Dante, Dante’s verses, Dante’s Comedy, and on Dante have worked for decades having owned it and coming to own it, a high, refined, cultured work, a work able to fathom the poetic work par excellence, giving it back, without ever dent it, the inimitable beauty and grandeur.
The three volumes of Ricordi are entitled “Philosophy of Dante’s Comedy. The modern and contemporary light of our greatest poet ”.
The author explains:
“The Comedy, for those who write not only the masterpiece of Italian literature but also the greatest text of the West, needs today, 7 centuries after its composition, a new hermeneutics, a further rethinking that confirms its extraordinary modernity and complexity .
This is the intent of the present interpretation which takes place not only on the literary critical level but also, and in a consubstantial way, in the stretch that opens the listening of the Comedy to the union of its three main components: poetry, philosophy, theater.
The aspiration of this new ‘one and three’ reading derives from the quintessence of the work: a poetic masterpiece, but also a philosophical and, at the same time, eminently theatrical masterpiece: Dante’s work is a unique and particular case in literary history, as well understood for the first time the great philosopher of idealism FJW Schelling, the only one that can be called both ‘lyric, epic and dramatic’; so from its title, so important and in some ways mysterious, Comedy, we deduce the need for Dante to compose a great tragedy with a happy ending, which certainly has nothing to envy to the ‘tragedy’ of his teacher Virgil, the Aeneid , and indeed it surpasses in every respect “.
The three ‘but also’ used by Ricordi in the short passage quoted show that Dante cannot be only something, since he is always ‘but also’ something else.
Widmann knows it well that, in the three volumes entitled “The Divine Comedy as a path of life”, he goes into the abyss of the unconscious, Hell, into the realm of the Ego, Purgatory, to arrive in the sphere of itself, Paradise.
The author writes:
“The passage of the homo viator through the various skies is a path along which personal contents are refined and psychic functions refined. It is also a journey of reintegration of the individual totality, a journey between diversity and antinomies, which in the logic of consciousness are incompatible, but in the uranic dimension (and in the logic of the Self) complement each other reciprocally.
It is an experience in which multiplicity creates the unity of the psyche and the philosophy of unity converges in a philosophy of harmony, where everything finds its place and its legitimacy. The individual totality is narrated as a chorality on the endogamous level, as a collectivity on the exogamous one, as a continuity on the transgenerational one.
Individual fullness is portrayed in peak experiences and numinous experiences that make up the psychological aspect of the sacred. They are passages of life in which dynamics, functions and singularities of the psyche configure experiences of non-denominational spirituality, which are religious in the etymological sense and not in the ecclesiastical sense of the term “.
One would have to write: now it’s Easter. Easter of Resurrection. In the company of Dante, two fabulous and monumental works, which return, although not very celebrated, the greatness and beauty of an immortal work, of an immortal poet, of the immortal poet.