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Dante and Orpheus

You may recall that Dante is about Beatrice—that is what The Divine Comedy is really about, the Christian symbolism is secondary. This is because Dante’s poem is really the Orphic initiation disguised in Christian garb.

Recap: Orpheus descends to hell to seek Eurydice and must bring her back without seeing her. This refers to the way the pure man must create his companion—draw her up from herself to him through devotion, not by debasement to her level through desire for her.

It is only when we renounce the object to which we have a passionate attachment that we may possess our true love—a magical operation: when you give it up, you get it.

Of course, Orpheus looks back and so loses Eurydice—he is widowed; he is the pure widow, the virgin widow—for the gods are not two-hearted, they love once and once only.

This is the initiation Dante undergoes in The Divine Comedy—it is the initiation of the Fedeli d’Amore. It is the initiation of the troubadours—these people being mistakenly seen as proto-feminists by adherents of profane “game” (game and PUA are truly Satanic—they teach men to behave like women, to go down to feminine passion rather than elevating women upwards to pure love).

Unlike Orpheus, Dante succeeds in his quest—he attains Beatrice-with-the-emerald-eyes, true love on the astral plane (where our other half waits for us—the other half we miss on this plane of existence). Dante descended to the depths and ascended to the heights—where he found pure love, as recovered through an alchemical operation. Where Orpheus failed, he succeeded.

Hence we find in Dante, so disguised, the old Indo-Aryan initiation—a mystery religion of old Greece. It is not quite the same as the hermaphrodite found in other religions—it is, rather, about the Godhead as the absolute man and the absolute woman, so birthed from the Black Sun.


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