5+21, Tarot, Demogorgone, Amorosa Visione and Boccaccio and gods

1
Castle Nuove Naples
Image

Amorosa visione (1342, revised c. 1365) is a narrative poem by Boccaccio, full of echoes of the Divine Comedy and consisting of 50 canti in terza rima. It tells of a dream in which the poet sees, in sequence, the triumphs of Wisdom, Earthly Glory, Wealth, Love, all-destroying Fortune (and her servant Death), and thereby becomes worthy of the now heavenly love of Fiammetta.
and
It is inevitable to point out clear affinities and non-latent influence with the almost contemporary "Triumphs" of Petrarch. Furthermore, the precise description of the frescoes has allowed some critics to identify the Boccacciano castle with Castel Nuovo in Naples, frescoed by Giotto.
.... appear in the following text

***********************

Recently (2022/11/19) I wrote at viewtopic.php?p=25583#p25583 ....
Demogorgon and Boccaccio

https://www.sueddeutsche.de/leben/dem-g ... -1.4678228
automatic translation .... https://www-sueddeutsche-de.translate.g ... r_pto=wapp

https://library.oapen.org/bitstream/han ... sequence=1
Paolo Cherchi: The Inventors of Things in Boccaccio’s De genealogia deorum gentilium ... page 244
Giuseppe Mazzotta: Boccaccio’s Critique of Petrarch .... page 270
The second text (Mazzotta) contains also the word "Trionfi"
After evoking Eternity and Nature, Boccaccio turns to the phantasmagoria of the natural sequence of created beings. From the Earth – the eighth of the nine daughters of Demogorgon – are born five children, among whom is Fama, love, death (Erebus), and time. It is difficult to resist recalling the ordered, progressive, hierarchical ascent of Petrarch’s Trionfi (love, time, fame, death, and Eternity), which Boccaccio dismantles. The neat rank ordering is displaced, and with it, Petrarch’s luminous self-consciousness plunges into the opacity of the mythology of Demogorgon who transcends all order and all individualities.
https://en.wikipedia.org/wiki/Demogorgon
https://en.wikipedia.org/wiki/Theodontius
https://en.wikipedia.org/wiki/Paul_of_Perugia
Pronapides the Athenian ....
http://www.perseus.tufts.edu/hopper/tex ... ides-bio-1
https://topostext.org/people/10138

*************************

Added:
We had the Demogorgon earlier, in 2011, in context of "Trionfo de Sogni 1566 - 21 Trionfi with gods"
search.php?keywords=demogorgon

MikeH recently directed me to the "Amorosa Visione", according Wikipedia
https://en.wikipedia.org/wiki/Amorosa_visione
...
Amorosa visione (1342, revised c. 1365) is a narrative poem by Boccaccio, full of echoes of the Divine Comedy and consisting of 50 canti in terza rima. It tells of a dream in which the poet sees, in sequence, the triumphs of Wisdom, Earthly Glory, Wealth, Love, all-destroying Fortune (and her servant Death), and thereby becomes worthy of the now heavenly love of Fiammetta. The triumphs include mythological, classical and contemporary medieval figures. Their moral, cultural and historical architecture was without precedent, and led Petrarch to create his own Trionfi on the same model. Among contemporaries Giotto and Dante stand out, the latter being celebrated above any other artist, ancient or modern.
Italian wikipedia:
https://it.wikipedia.org/wiki/Amorosa_visione
automatic translation:
https://it-m-wikipedia-org.translate.go ... r_pto=wapp
A part of it ...
Plot

The protagonist, who has been struck by Cupid 's arrows of love for Fiammetta, falls asleep and dreams of wandering through deserted places when he meets a woman who invites him to follow him and leads him to a castle which has two doors , the one on the right it is small and narrow and leads to virtue , while the one on the left is large and wide and promises wealth and worldly glory.
Allowing himself to be persuaded by two young men, he chooses the widest door and goes through numerous rooms on whose walls are frescoed the triumphs of Wisdom , Glory, the Avars , Love , Fortune and a kind woman . Thus he convinces himself " that these well-earned are truly / those who put each one under the grip of vices " [2] and follows his guide so that it leads him to see things " glorious and eternal " [3] .
First he sees a marble fountain on which stand out four caryatids symbolically representing the four cardinal virtues , three small statues of women, symbol of pure love, carnal love and venal love and three animal heads , a lion , a bull and a wolf symbolizing pride , lust and avarice .
He then enters a garden where graceful women stroll and he recognizes Fiammetta among them. The two walk away in a " loco (...) all alone " [4] but when he tries to possess the desired woman, the dream vanishes. Awakened, he thus finds himself next to the guide who scolds him and tells him that he will be able to achieve what he desires only by following virtue and leaving worldly goods.
The poem ends with an invocation to the beloved woman to be compassionate towards him : [5] .

"Therefore, kind and valiant woman,
of beauty as a source of sunlight,
look at the flame that hides
inside my chest, and extinguish it
by being pitying towards me"
The descriptions contradict each other. Another Italian wikipedia page ... automatic translation ....
https://it-m-wikipedia-org.translate.go ... r_pto=wapp
It is a poem in tercets divided into fifty cantos.
The actual narration is preceded by a proem consisting of three sonnets which, taken together, form an immense acrostic in the sense that they are composed of words whose letters (vowels and consonants) correspond in an orderly and progressive manner to the respective initial letters of each tercet of the poem.

The story describes the dreamlike experience of Boccaccio who, under the guidance of a kind woman, arrives at a castle, on whose walls allegorical scenes are represented featuring illustrious characters from the past. In more detail, the triumphs of Wisdom, Glory, Love and Wealth are represented in one room, and that of Fortune in the other.
It is inevitable to point out clear affinities and non-latent influence with the almost contemporary "Triumphs" of Petrarch. Furthermore, the precise description of the frescoes has allowed some critics to identify the Boccacciano castle with Castel Nuovo in Naples, frescoed by Giotto. After having dwelt with display of erudition on the beauties of the frescoes, Boccaccio passes into a garden where he meets Madonna Fiammetta and tries to abuse her in her sleep.

The timely awakening of the woman and the fact that she reminds the poet of the danger of the imminent return of her guide prevent the act from taking place. In fact, shortly thereafter the "gentle woman" returns stating that the poet will be able to achieve full possession of her beloved by leading a life marked by the virtuous precepts whose learning had been the essential purpose of the journey.

The work owes several debts to Dante and the Divine Comedy, especially as regards the experience of the "Visio in somnis" and the guidance of a "gentle woman", but the strong tendency towards emancipation of Boccaccio should also be underlined : while Dante follows in all respects the dictates of Beatrice, Boccaccio in numerous cases rebels against the patronage of the guide, for example in preferring the wide road of worldliness, with its fatuous attractions to the narrow and impervious one that leads to virtue. The sublime tone contrasts with the comedy of certain situations (primarily the meeting with Fiammetta) so that some critics have thought of a parodic intent on the part of Boccaccio towards the didactic allegorical poem.
Last edited by Huck on 01 Jan 2023, 06:09, edited 2 times in total.
Huck
http://trionfi.com

Re: 5+21, Tarot, Demogorgone, Amorosa Visione and Boccaccio and gods

2
Tarot has a structure with 5 suits ... AND ... 21 trumps

Tarot has a structure with 5 suits ... AND ... 21 trumps ... AND ... the Fool

Tarot has a structure with 5 suits ... AND ... 21 trumps ... AND ... the Demogorgone

Tarot has a structure with 5 suits ... AND ... 21 gods ... AND ... the Demogorgone

Tarot has a structure with 4 suits ... AND ... there is a 5th suit with 21 trumps and a Fool

The trumps can be seen as gods in the game

The oldest card deck similar to Tarot, from which we had heard of, is the Michelino deck with 16 gods made c1418-1425.

In the Minchiate Francesi deck of ca. 1650-60 there is a card called Chaos.

Image


Etteilla had a card, which he called Chaos or Etteilla or LE QUESTIONNANT

Image


*******************

Boccaccio wrote in a time, when a start of the playing cards might have existed or might have not existed. Boccaccio died December 1375. In spring 1377 playing cards existed in Florence in considerable number, so much, that many persons thought it a good idea to prohibit the games with them.

Boccaccio used in his works 5 Trionfi in a manner, that some researchers consider these as a model, that inspired Petrarca to write his poems for 6 Trionfi. The deciding work was probably "Amorosa Visione".

Boccaccio wrote about gods in 14 books. .... https://la.wikisource.org/wiki/De_genea ... _gentilium
I had some studies with with Liber I.

This shall be the content of Liber I in 34 chapters (in the case, that I understood it) :
Eternity seems to be the Demogorgone himself.
Chaos is somehow the wife of Demogorgon (chapters 1+2, Eternity and Chaos).
Together they have 9 children (The first 7 are described in chapters 3-7, chapter 5 presents the 3 goddesses of destiny).
Terra (probably = Gaia) is the child Nr. 8 (in chapter 8) and she has 5 children (in chapters 9-13).
In chapter 14 appears the younger brother of Terra, Heribo (Heribi). 9th child of the Demogorgone.
His offspring is presented in 20 chapters (chapter 15-34).
Content of Liber I .... according ... https://la.wikisource.org/wiki/De_genea ... ber_primus
1 Prohemium.
2 CAP. I. De Eternitate.
3 CAP. II. De Chaos.
4 CAP. III. De Litigio primo Demogorgonis filio.
5 CAP. IV. De Pane secundo Demogorgonis filio.
6 CAP. V. De Cloto, Lachesi et Atropu filiabus Demogorgonis.
7 CAP. VI. De Polo sexto Demogorgonis filio.
8 CAP. VII. De Phytone septimo Demogorgonis filio.
9 CAP. VIII. De Terra ex filiis Demogorgonis octava
10 CAP. IX. De Nocte prima Terre filia. ............... 5 children of Terra (= Gaia)
11 CAP. X. De Fama secunda ex filiis Terre.
12 CAP. XI. De Tartaro IIIo Terre filio.
13 CAP. XII. De Tagete IIIIo Terre filio.
14 CAP. XIII. De Antheo Vo Terre filio.
15 CAP. XIV. De Herebo VIIIIo Demogorgonis filio, cui fuerunt filii XXI.
16 CAP. XV. De Amore primo Herebi filio. ............... 20/21 children of Herebo (= Erebos)
17 CAP. XVI. De Gratia Herebi et Noctis secunda filia.
18 CAP. XVII. De Labore tertio Herebi filio.
19 CAP. XVII. De Invidentia seu Invidia IIIIa Herebi filia.
20 CAP. XIX. De Metu Vo Herebi filio.
21 CAP. XX. Est et Dolus, ut Tullio placet, filius Noctis et Herebi.
22 CAP. XXI. De Fraude VIIa Herebi filia.
23 CAP. XXII. De Pertinacia Herebi VIIIa filia.
24 CAP. XXIII. De Egestate Herebi filia VIIIIa.
25 CAP. XXIV. De Miseria Herebi Xa filia.
26 CAP. XXV. De Fame XIa Herebi filia.
27 CAP. XXVI. De querela Herebi filia XIIa.
28 CAP. XXVII. De Morbo XIIIo Herebi filio.
29 CAP. XXVIII. De Senectute Herebi XIIIIa filia.
30 CAP. XXIX. De Pallore Herebi filio XVo.
31 CAP. XXX. De Tenebra XVIa Herebi filia.
32 CAP. XXXI. De Somno Herebi filio XVIIo.
33 CAP. XXXII. De Morte XVIIIa filia Herebi.
34 CAP. XXXIII. De Carone Herebi filio XVIIIIo.
35 CAP. XXXIV. De Die Herebi XXa filia.
There is something strange ... somehow there are 21 filii, but the last seems to be the 20th child. Heribo seems to be the Latin form of Erebus or Erebos.
Erebus means "darkness".
https://en.wikipedia.org/wiki/Erebus
Huck
http://trionfi.com

Re: 5+21, Tarot, Demogorgone, Amorosa Visione and Boccaccio and gods

3
The "Demiurge" (somehow the "Demogorgon") appears in the "Timaios" of Plato.
https://en.wikipedia.org/wiki/Timaeus_(dialogue)
The word Demiurge had some development before Plato
https://en.wikipedia.org/wiki/Demiurge

*********************

The numbers 5 and 21 appear in the Boccaccio work about Greek-Roman Mythologie in Liber 1 and this is also the major source of the Demogorgon.
Terra has there 5 children - brother Heribo alias Erebus has there 20/21 children.
The number 5 appears also as 5 Trionfi in the Amorosa Visione.

*******************

The numbers 5 and 21 meet in the description of Tarot decks, which have 5 suits and the 5th suit has 21 trumps.
And a Fool of course, which somehow has good chances to be considered as the Demogorgon.
There is some indication, that old Trionfi decks hadn't 21 trumps (according the 5x14 theory and some other ideas). The first sure deck construction with 5 suits and 21 trumps in the 5th suit is known in the Tarocchi poem of Matteo Maria Boiardo. I saw, that Boiardo shall have had also some occupation with the Demogorgon figure. I still have to search this passage. Possibly it is this:

Boiardo: Orlando Innamorato
Book II: Canto XIII: In the Realms of Morgana and Alcina
24-30: The Count leaves with the youth, Fiordelisa, and Bardino
Orlando turned, and told her to attend:
‘Morgana, come, your master now address:
For I’d have you swear by Demogorgon
Mighty ruler of the Faery kingdom,

That you will never harm or hinder me.’
This Demogorgon (you may be aware)
Commands and judges the realm of Faery,
And he does as he wishes with all there.

At nightfall, o’er the mountains and the sea,
He rides, on a giant ram, through the air,
And the phantom, and the witch, and the fay,
He lashes, with live snakes, at break of day;

For if such are seen on earth, in dawn light,
When they are all forbidden neath the sky,
He whips them, furiously, with all his might,
So that they truly wish that they could die.

Now he chains them neath the sea, far from sight,
Now barefoot on the wind they walk on high,
Now he leads them through the fiery blaze,
Tormenting them, in these and other ways.

And so, Orlando made the Faery swear
By Demogorgon, who was her master,
Threatening the Fay, till she did not dare
Do aught but what he said; she, thereafter,

Swiftly fled, midst the shadows, to her lair,
Hiding deep beneath the lake, to recover,
While the Count and Ziliante, at their ease,
Returned to Fiordelisa, on her knees
https://www.poetryintranslation.com/PIT ... toXIII.php

Well, if that is all, then it's not very impressive.
In an opera "Orlando finto pazzi", which was created by Antonio Vivaldi in Venice 1714 with motifs from Boiardo's "Orlando innamorato", the work starts in the temple of Demogorgon and Pluto.

I translated (with the help of a translation machine) parts of the German language Wikipedia to Demogorgon. The article has connected some appearances of the word Demogorgon in literature.
Demogorgon is a mythological figure that does not derive from the mythological Greco-Roman classics, but Boccaccio the xiv - th century in his Genealogia deorum gentilium ( Genealogy of the Pagan Gods ).
According to Boccaccio, Demogorgon would be the father of all gods, a "pale old man covered with damp mold, living in the bowels of the earth amid misty darkness". The source of Boccaccio would be a certain Theodontius, and he found his name in a commentary by the grammarian Lactantius Placidus (c. 450) of the Thebaid of Stace . It is probably a Latin corruption of the Greek Δημιουργόν, the demiurge , creator of the world of the Neoplatonists . After Boccaccio, he had an important posterity in the works of Renaissance mythographers and alchemists .

Literary posterity
“Demogorgon obtained a real literary fortune […] but at the expense of gross simplifications. In the French religious theater of the xvth century, it is sometimes cited as the ancient fallen god or the devil incarnate, in which Rabelais collaborates in the third and fourth books . Teofilo Folengo presents him as an old trickster, pretending to be Pasquino and wanting to enter Paradise , "where he came on his skinny mule and so enchanted that we might have his two flanks together", but Saint Peter bluntly expels him (Maccaronic) History tr. Fr. 1600). Folengorgon explains that Demogorgon "is used to beating the living fairies with his tail and riding witches as donkeys", referring parodically to the role attributed to him by Boiardo and Ariosto . In the Orlando Innamorato , the hero threatens the fairy Morgana, invoking the terrible name of the ruthless master of fairies and witches [...]. Ariosto places his palace in the Himalayas , where the Fairy Council meets every five years ( Cinque canti I).
This magical and demonic tradition will have some success in Elizabethan literature and French literature of the xviith century ( 1610 Mary entrance of Médicis in Paris , to Regnier, Quinault libretto for the opera Roland to the music of Lully. In the xviiith century , Voltaire and Encyclopedia , according to The Mythology Handbook, mention Abbe Banier . But it is Shelley in Prometheus Unbound who symbolizes the liberating metamorphosis of tyranny, with Jupiter recognizing him afresh as his pristine status as the primordial and eternal principle."
He is quoted by the English poets Spencer ( The Faerie Queene ), Marlowe , Dryden , Milton , Peacock and Shelley ( Prometheus Unbound ).
He appears in a novel by Voltaire , Le Songe de Plato (1756), in Moby Dick (1851), where he is metaphorically compared to the white whale, in a poem by Hugo , Au Cheval (1865), as well as in a novel by Dan Simmons , Olympos (2006).
*******************

The wedding festivities of 1565/66 also use the numbers 5 and 21.

There are 5 dreams and 21 Trionfi. The festivities had some clear relations to the poet Boccaccio.
Recently I wrote about this:
viewtopic.php?p=25591#p25591 .... and the following posts

*******************

There is another meeting of the numbers 5 and 21:

Gaia and Uranus have (somehow) 21 children.
12 Titans + 3 Cyclopes, each with one eye only + 3 Hecatoncheires, each with 50 heads and 100 hands. This are 18.
When Cronos cut off the genital of Uranos, then some drops of bood did fall from heaven on earth. This caused the birth of the Erinyes, godesses of revenge and these were 3: Alecto or Alekto ("endless anger"), Megaera ("jealous rage"), and Tisiphone or Tilphousia ("vengeful destruction"). These are 3 and 3 + 18 makes
21.
Further there were not counted giants and not counted meliae .... "According to Hesiod, from the blood that spilled from Uranus onto the Earth came forth the Giants, the Erinyes (the avenging Furies), the Meliae (the ash-tree nymphs). From the genitals in the sea came forth Aphrodite."

Gaia, disappointed of Uranus, had 5 children with Pontos (a god with relation to the sea, especially to the Black Sea):
1. Nereus, a man with 50 daughters
https://en.wikipedia.org/wiki/Nereus
https://en.wikipedia.org/wiki/Nereids
2. Thaumas, had the daughters Iris, Arke and 2-4 Harpies
https://en.wikipedia.org/wiki/Thaumas
https://en.wikipedia.org/wiki/Iris_(mythology)
https://en.wikipedia.org/wiki/Arke
https://en.wikipedia.org/wiki/Harpy
3. and 4. Phorkys, male, and Ceto, female, had together a lot of monsters as children.
https://en.wikipedia.org/wiki/Phorcys
https://en.wikipedia.org/wiki/Ceto
5. Eurybia, who married Crius, a Titan and had 3 sons with him.
https://en.wikipedia.org/wiki/Eurybia_(mythology)
Huck
http://trionfi.com

Re: 5+21, Tarot, Demogorgone, Amorosa Visione and Boccaccio and gods

4
Happy New Year

I wrote ..
Gaia, disappointed of Uranus, had 5 children with Pontos (a god with relation to the sea, especially to the Black Sea):
1. Nereus, a man with 50 daughters
https://en.wikipedia.org/wiki/Nereus
https://en.wikipedia.org/wiki/Nereids
2. Thaumas, had the daughters Iris, Arke and 2-4 Harpies
https://en.wikipedia.org/wiki/Thaumas
https://en.wikipedia.org/wiki/Iris_(mythology)
https://en.wikipedia.org/wiki/Arke
https://en.wikipedia.org/wiki/Harpy
3. and 4. Phorkys, male, and Ceto, female, had together a lot of monsters as children.
https://en.wikipedia.org/wiki/Phorcys
https://en.wikipedia.org/wiki/Ceto
5. Eurybia, who married Crius, a Titan and had 3 sons with him.
https://en.wikipedia.org/wiki/Eurybia_(mythology)
I once, about 35 years ago, got the idea, that these 5 gods might present the 5 elements, Water-Air-Fire-Earth-Aither. Nereus is a water god, the children of Thaumas have wings, this should mean that Thaumas had something to do with Air. About the other 3 I got no clear opinion, but I suspected "5 elements".

Recently I got this info:
AITHER (Aether) was the primordial god (protogenos) of light and the bright, blue ether of the heavens. His mists filled the space between the solid dome of the sky (ouranos) and the transparent mists of the earth-bound air (khaos, aer). In the evening his mother Nyx drew her dark veil across the sky, obscuring the ether and bringing night. In the morn his sister and wife Hemera dispersed night's mist to reveal the shining blue ether of day. In the ancient cosmogonies night and day were regarded as elements separate from the sun.

Aither was one of the three "airs". The middle air was aer or khaos, a colourless mist which enveloped the mortal world. The lower air was erebos, the mists of darkness, which enveloped the dark places beneath the earth and the realm of the dead. The third was the upper air of aither, the mist of light and blue of the heavenly ether. The aither enveloped the mountain peaks, clouds, stars, sun and moon.

Aether's female counterpart was Aithre (Aethra), Titaness of the clear blue sky and mother of the sun and moon.
and
ENCYCLOPEDIA
AETHER (Aithêr), a personified idea of the mythical cosmogonies. According to that of Hyginus (Fab. Pref. p. 1, ed. Staveren), he was, together with Night, Day, and Erebus, begotten by Chaos and Caligo (Darkness). According to that of Hesiod (Theog. 124), Aether was the son of Erebus and his sister Night, and a brother of Day. (Comp. Phornut. De Nat. Deor. 16.) The children of Aether and Day were Land, Heaven, and Sea, and from his connexion with the Earth there sprang all the vices which destroy the human race, and also the Giants and Titans. (Hygin. Fab. Prof. p. 2, &c.) These accounts shew that, in the Greek cosmogonies, Aether was considered as one of the elementary substances out of which the Universe was formed. In the Orphic hymns(4) Aether appears as the soul of the world, from which all life emanates, an idea which was also adopted by some of the early philosophers of Greece. In later times Aether was regarded as the wide space of Heaven, the residence of the gods, and Zeus as the Lord of the Aether, or Aether itself personified. (Pacuv. ap. Cic. de Nat. Deor. ii. 36, 40; Lucret. v. 499; Virg. Aen. xii. 140, Georg. ii. 325.)
Source: Dictionary of Greek and Roman Biography and Mythology.
Both from .... https://www.theoi.com/Protogenos/Aither.html

From this I assume, that the male Phorkys presents the lower air (= later Fire) and the female Ceto the element earth. And Eurybia (also female) who married inside the family of the Titans the Titan Krios [or Crius], who had 3 sons, from which one (Astraios ot Astraeus) married the goddess Eos, from whom he got between others the 4 winds Boreas (North), Euros (South-East), Zephyr (West) und Notos (South). Mother Eos (goddess of morning dawn) likely stood for the Eastern direction (the sun appears in the East in the morning). Thaumas should have stood for the middle air.

Astraios or Astaeus
https://en.wikipedia.org/wiki/Astraeus
"They had many sons, including the four Anemoi ("winds"): Boreas, Notus, Eurus, and Zephyrus,[4] and the five Astra Planeta ("Wandering Stars", i.e., planets): Phainon (Saturn), Phaethon (Jupiter), Pyroeis (Mars), Eosphoros/Hesperos (Venus),[ and Stilbon (Mercury). A few sources mention another daughter, Astraea, the goddess of innocence and, occasionally, justice.
He is also sometimes associated with Aeolus, the Keeper of the Winds, since winds often increase around dusk."
Here is a list of the gods following the Theogony of Hesiod with some comments.
https://www.theoi.com/TreeHesiod.html

Theogony of Hesiod translated to English
https://www.theoi.com/Text/HesiodTheogony.html

Hesiod .... https://en.wikipedia.org/wiki/Hesiod
Huck
http://trionfi.com

Re: 5+21, Tarot, Demogorgone, Amorosa Visione and Boccaccio and gods

5
I collected some works to this theme ... mostly written at the end of 2022 ...
In 2011 ...Trionfo de Sogni 1566 - 21 Trionfi with gods
viewtopic.php?f=11&t=727
#1 - #6
---------

#1 Re: 5+21, Tarot, Demogorgone, Amorosa Visione and Boccaccio and gods 21.11.2022
viewtopic.php?f=11&t=727

#7 Re: Trionfo de Sogni 1566 - 21 Trionfi with gods 08.12.2022
viewtopic.php?p=25590#p25590

#8 Re: Trionfo de Sogni 1566 - 21 Trionfi with gods 09.12.2022
viewtopic.php?p=25591#p25591

#9 Re: Trionfo de Sogni 1566 - 21 Trionfi with gods 12.12.2022
viewtopic.php?p=25594#p25594

#10 Trionfo de Sogni 1566 13.12.2022
viewtopic.php?p=25595#p25595

(#511 Trionfi.com ... Les songes drolatique de Pantagruel)
viewtopic.php?p=25597#p25597

#11 21 Trionfi with gods 1566 16.12.2022
viewtopic.php?p=25598#p25598

#2 Re: 5+21, Tarot, Demogorgone, Amorosa Visione and Boccaccio and gods 19.12.2022
viewtopic.php?p=25601#p25601

#12 Vasari: Description of Demogorgone chariot 1566 20.12.2022
viewtopic.php?p=25604#p25604

#3 Re: 5+21, Tarot, Demogorgone, Amorosa Visione and Boccaccio and gods 28.12.2022
viewtopic.php?p=25607#p25607

#4 Re: 5+21, Tarot, Demogorgone, Amorosa Visione and Boccaccio and gods 01.01.2023
viewtopic.php?p=25612#p25612
The theme is connected to the genre "festival book"

https://www.bl.uk/treasures/festivalbooks/homepage.html
https://en.wikipedia.org/wiki/Festival_book
Read Renaissance and Early Modern festival books on your desktop now
View 253 digitised Renaissance festival books (selected from over 2,000 in the British Library's collection) that describe the magnificent festivals and ceremonies that took place in Europe between 1475 and 1700 - marriages and funerals of royalty and nobility, coronations, stately entries into cities and other grand events.
Such important events might have been occasionally also connected to some sort of playing card production.

Long time ago we had some occupation with a wedding in the Sforza family in Pesaro. There was the suspicion, that this wedding was connected to a playing card production.

In 2010 ...
Project: Festival book 1475
viewtopic.php?f=11&t=418&p=5205&hilit=p ... ding#p5205
Huck
http://trionfi.com

Demogorgone ,,,, Ariost

6
Searching for 5 and 21 and Demogorgon

I looked up Ariost, who has written something about the Demogorgon. "I Cinque Canti" .... there is a "5" (cinque) in the title.
https://it.wikisource.org/wiki/Opere_mi ... ti/Canto_I

This is Canto 1. The Cinque Canti are nor complete, I read here.
https://books.google.de/books?id=ra4wDw ... &q&f=false

The Canto-1-poem has 111 eight-line-verses, totally 888 lines. Nice number.
The name Demogorgon appears twice, in verse 4 and verse 30.
30 minus 4 makes 26. Also a nice number, cause I'm looking for a 26 just in this moment.
Demogorgon appears on the 3rd line of the 4th eight-line verse , that is line No. 27, not line 26. But, if one takes the 26 lines as 26 definitions of ab created world, then line 27 contains the name of the creator: Demogorgon, the Demiurg.
Well, the creator signs his work, that is a common feature.

The 4th 8-line-verse: .... first appearance of Demogorgon
Gli altri ornamenti, chi m’ascolta o legge
Può immaginar senza ch’io ’l canti o scriva.
Quivi Demogorgon, che frena e regge ..... 27th line
Le Fate, e dà lor forza e le ne priva,
Per osservata usanza e antica legge,
Sempre ch’al lustro ogni quint’anno arriva, .... 30th line
.... there is another 5 and the 30th line possible addresses the 30th 8-line-verse ....
Tutte chiama a consiglio, e dall’estreme
Parti del mondo le raguna insieme.

The other ornaments, whoever listens to me or reads
You can imagine it without me singing or writing it.
Here Demogorgon, who brakes and holds ..... 27th line
The Fairies, and gives them strength and takes it away,
By observed custom and ancient law,
As long as the luster arrives every fifth year, .... 30th line
He calls everyone for advice, and from the extremes
Parts of the world lump them together.
30th 8-line-verse .... second appearance of Demogorgon
Poi che Demogorgon, principe saggio .... 206th line after the other Demogorgon
Del gran consiglio, udì tutto il lamento,
Disse: — Se dunque è general l’oltraggio,
Alla vendetta general consento;
Che sia Orlando, sia Carlo, sia il lignaggio
Di Francia, sia tutto l’imperio spento;
E non rimanga segno nè vestigi,
Nè pur si sappia dir: Qui fu Parigi. —
888 lines has the poem =
26 ..... Start
+ 1 ..... 1st Demogorgon line
+ 205 .... lines between 2 Demogorgon lines
+ 1 .... 2nd Demogorgon line .....= 233th line of the complete text
+ 655 .... end of text of Canto I

205 = 5*41 ... there is another 5 and the 41 possibly signals "Minchiate number"
Then that Demogorgon, wise prince
Of the great council, he heard all the lament,
He said: - If therefore the outrage is general,
I consent to general revenge;
May it be Orlando, be it Carlo, be it the lineage
Of France, let the whole empire be extinguished;
And let no sign or vestige remain,
Nor can one even say: Here was Paris. —
It sounds, as if the Demogorgon was really angry then after this 205 lines
The translation is from google.

************

The number 26 (21+5) generally ...

A cube has 12 lines, 8 corners and 6 sides
12+8+6 = 26
The Holy name YodHeVauHe (Jewish) ....
Yod = 10, He = 5, Vau = 6, He = 5
10+5+6+5 = 26

Well, I just looked up the Ariost text to control if I could detect some use of 5, 21 or 26
I found something, I would say.

https://en.wikipedia.org/wiki/Ludovico_Ariosto ..... (8 September 1474 – 6 July 1533)
Huck
http://trionfi.com

5+21 .... Demogorgone .... Ariosto

7
There is an Orlando Furioso Tarocchi ... Kaplan II, p. 287/88

https://archivi.cini.it/storiaarte/arch ... "%5D%7D%7D
Roma, Istituto Centrale per la Demoetnoantropologia
Anonimo
sec. XVI, metà, 1543 ca. - 1557 ca.
carta da gioco, xilografia, coloritura in viola, arancione e verde
Image


#########################

Development of the Orlando Furioso .... https://en.wikipedia.org/wiki/Orlando_Furioso
Details:
"The poem is divided into forty-six cantos, each containing a variable number of eight-line stanzas in ottava rima (a rhyme scheme of abababcc). Ottava rima had been used in previous Italian romantic epics, including Luigi Pulci's Morgante and Boiardo's Orlando Innamorato. Ariosto's work is 38,736 lines long in total, making it one of the longest poems in European literature."
"Composition and publication
Ariosto began working on the poem around 1506, when he was 32. The first edition of the poem, in 40 cantos, was published in Ferrara in April 1516 and dedicated to the poet's patron Ippolito d'Este. A second edition appeared in 1521 with minor revisions.
Ariosto continued to write more material for the poem and in the 1520s he produced five more cantos, marking a further development of his poetry, which he decided not to include in the final edition. They were published after his death by his illegitimate son Virginio under the title Cinque canti and are highly regarded by some modern critics.[5] The third and final version of Orlando Furioso, containing 46 cantos, appeared in 1532. " The final version with 46 Canti and without the Cinque Canti version shall have 38736 lines.
****************

Before I had analyzed the Canto I of Ciinque Canti ....
888 lines has the poem
-----
26 ..... Start
+ 1 ..... 1st Demogorgon line
+ 205 .... lines between 2 Demogorgon lines
+ 1 .... 2nd Demogorgon line .....= 233th line of the complete text
+ 655 .... end of text of Canto I

205 = 5x41 ... there is another 5 and the 41 possibly signals "Minchiate number"
I had the idea about the Minchiate number "41", when I analyzed the 1st Canto of the Cinque Canti text. Knowing now the assumed backround of the complete text I realize, that the first Canto of the 5 Canti was once intended to become the "41th" Canto of a collection, which once was intended to become a "final version". This observation changes the situation.

****************

I want to know the conditions of the final version:

38736 / 8 = 4842 .... that is the number of 8-line-verses in the final version of the year 1532 with 46th Canti.

4842 / 46 = 105.260869565 .... this is the average of the length of the 46 Canti, the result is rounded to 105.26 and nobody would think of it ....

This result is somehow "crazy", cause 105 = 21 x 5 and I had started this research cause of suspicions about the relation between the numbers 21 and 5.

Here appears a relation, but it is not precise, cause there is a rest of 0.26

105 * 46 = 4830 .... somehow it looks, as if there are 12 verses too much (4842 - 4830 = 12) .... but isn't 105 = 21 x 5 and 26 = 21 + 5 .... ?????

So somehow this not an error or a case "not elegant numbers", but the genius of the poet Ariosto, who wished precisely to have the result 21 x 5 (= 105) and
21 + 5 (= 26).

************************

https://it.wikisource.org/wiki/Opere_mi ... nque_Canti

That are the complete 5 Canti, which are not part of the final version. There are no other Demogorgone in the text, some other demon .... -words appear. I didn't research these.

Canto 1 has 111 éight-line-verses + 1 eight-line-verse, which is called "ARGOMENTO" (?) and which is not counted in the number system
Canto 2 has 135 éight-line-verses + 1 eight-line-verse, which is called "ARGOMENTO" (?) and which is not counted in the number system
Canto 3 has 112 éight-line-verses + 1 eight-line-verse, which is called "ARGOMENTO" (?) and which is not counted in the number system
Canto 4 has 97 éight-line-verses + 1 eight-line-verse, which is called "ARGOMENTO" (?) and which is not counted in the number system
Canto 5 has 93 éight-line-verses + 1 eight-line-verse, which is called "ARGOMENTO" (?) and which is not counted in the number system

111+135+112-97-93 = 548 ... but there are for each canto an opening eight-line verse, so totally 548 +5 = 553 .... somehow 555 would be perfect.

Canto 1 for instance starts like this ...
ARGOMENTO

Alcina delle Fate al gran consiglio ..... this eight-line-text has no number
Chiede vendetta dell’offeso onore;
E con l’Invidia ria preso consiglio,
Move di Gano a tanto effetto il core;
Mentre l’imperator dall’aureo Giglio
Di tutti i suoi guerrier premia il valore:
Poi Gano tratto a forza ov’era Alcina,
Trama di Carlo alfin l’alta ruina.


1 Sorge tra il duro Scita e l’Indo molle ..... this eight-line-text has a number and the number is 1
Un monte1 che col ciel quasi confina,
E tanto sopra gli altri il giogo estolle,
Ch’alla sua nulla altezza s’avvicina:
Quivi, sul più solingo e fiero colle,
Cinto d’orrende balze e di ruina,
Siede un tempio il più bello e meglio adorno
Che vegga il sol, fra quanto gira intorno.

... then comes the second eight-line-text and it has the number 2


I don't know, if these first 8 lines are counted inside the system of the "final version". I've to search for a complete Orlando Furioso version, which I haven't found till now.

This is an automatic translation of the Italian text above
SUBJECT

Alcina delle Fate at the great council
He asks for revenge for his offended honor;
And with Envy he took advice again,
Move by Gano with great effect on the core;
While the emperor with the golden lily
Of all the warriors he rewards the valor:
Then Gano took him by force to where Alcina was,
Plot of Carlo at the end of the high ruin.[/i]

1 It rises between the hard Scythian and the soft Indus
A mountain that almost borders the sky,
And so much above the others the yoke lifts,
Who approaches the nothing height of him:
There, on the loneliest and proudest hill,
Surrounded by horrendous cliffs and ruins,
There sits a most beautiful and best adorned temple
Let the sun see, among all that goes around.
It seems, that the first not numbered eight-line-text describes that, what happens in the complete first Canto. It seems, that this is also a text, which was made by Ariosto.
Huck
http://trionfi.com

Re: 5+21, Tarot, Demogorgone, Amorosa Visione and Boccaccio and gods

8
Ariosto: Orlando furioso in English 1591
https://www.bl.uk/collection-items/ario ... glish-1591

Orlando Furioso and Cinque Canti 1568
https://www.zvab.com/servlet/BookDetail ... zAQAvD_BwE

The Orlando Furioso of Ludovico Ariosto, Vol 1
G. Bell and sons, 1864, translated by William Stewart Rose
London, Henry G. Bohn, 1864
https://books.google.de/books?id=drI4AQ ... so&f=false

The Orlando Furioso by Lodovico Ariosto, Vol. 2
Lodovico Ariosto, 1864, translated by William Stewart Rose
J. Murray, 1824
https://books.google.de/books?id=XpS9Wa ... so&f=false

Orlando Furioso by L. Ariosto
1834 (contains a biography of Ariost)
https://books.google.de/books?id=n8wFAA ... navlinks_s

Orlando Furioso: A New Verse Translation
by Ludovico Ariosto. translated by David R. Slavitt (2009/10)
The Belknep Press of Harvard University Press
.... it's at least an amusing read ...
https://books.google.de/books?id=IYhLxG ... navlinks_s
Huck
http://trionfi.com

5+21 .... 5 triumphs in Amorosa Visione

9
https://en.wikipedia.org/wiki/Amorosa_visione
Amorosa visione (1342, revised c. 1365) is a narrative poem by Boccaccio, full of echoes of the Divine Comedy and consisting of 50 canti in terza rima. It tells of a dream in which the poet sees, in sequence, the triumphs of Wisdom, Earthly Glory, Wealth, Love, all-destroying Fortune (and her servant Death), and thereby becomes worthy of the now heavenly love of Fiammetta. The triumphs include mythological, classical and contemporary medieval figures. Their moral, cultural and historical architecture was without precedent, and led Petrarch to create his own Trionfi on the same model. Among contemporaries Giotto and Dante stand out, the latter being celebrated above any other artist, ancient or modern.
*************

https://www.reiss-sohn.de/de/lose/9454-A190-132/
Image


"Trionfo di Sapientia, di Gloria, di Ricchezza, di Amore, e di Fortuna"
Boccaccio, G. Amorosa visione di nuovo ridotta in luce, nella quale si contengono cinque trionfi. Venedig, G. Giolito, 1558
3rd edition after editions in 1521 and 1549

*******************

https://www.treccani.it/enciclopedia/amorosa-visione
Treccani.it automatic translation ....
https://www-treccani-it.translate.goog/ ... r_pto=wapp
Allegorical poem in tercets by G. Boccaccio , probably composed in 1342.

Caught in a sweet sleep, the poet is guided by a beautiful woman to a castle in whose rooms the allegorical triumphs of Science, Glory, Wealth, Love and Fortune are frescoed. Having then entered a garden, where many beautiful women are walking, he spots Fiammetta and goes away with her until he finds the guide next to him who exhorts him to virtue.

The poem is to be considered an unsuccessful intellectualistic attempt, foreign to Boccaccio's artistic temperament, which was based on didactic literature and, in particular, on Dante's experience: the influence of the Divine Comedy is in fact evident in the scheme and in the allegorical procedure , however in the external elements and not in the poetic substance .

In-depth analysis by Natalino Sapegno from Boccaccio, Giovanni (Biographical Dictionary of Italians)

§ Loving Vision . Poem in fifty cantos in tercets, whose composition lies between Ameto and Fiammetta , is B.'s poorest, most discolored and prosaic writing and confirms his weak qualities as a versifier. It takes up and exhausts the surviving waste of the allegorical and didactic vein, present, as we have seen, in culture, but not in the author's feelings. He tells of having found himself in a dream in a deserted place, from which a "bright and beautiful woman" takes him with her, who leads him to the threshold of a noble castle. It is accessed through two doors, one low and narrow which "leads one to life", the other open and easy which promises "wealth, dignity... worldly glory". The poet chooses the second and is introduced into a splendid room, with frescoes celebrating the triumphs of science, glory, wealth and love; in another room he contemplates the image of Fortune among her victims; finally in a garden he meets Fiammetta and rejoices in her love, but when he is about to harvest the last fruit of this love, he wakes up; and then he abandons himself docilely to the will of her mysterious guide, following her along the narrow and arduous path of virtue that leads to "eternal rest". The entire poem is constructed like an enormous acrostic: the initial letters of each tercet form three dedication sonnets, the first two addressed to "madama Maria", that is, Fiammetta, the third to the readers.
Huck
http://trionfi.com

Re: 5+21, Tarot, Demogorgone, Amorosa Visione and Boccaccio and gods

10
Earlier ... viewtopic.php?p=25601#p25601 ... I wrote ....
Content of Liber I .... according ... https://la.wikisource.org/wiki/De_genea ... ber_primus
1 Prohemium.
2 CAP. I. De Eternitate.
3 CAP. II. De Chaos.
4 CAP. III. De Litigio primo Demogorgonis filio.
5 CAP. IV. De Pane secundo Demogorgonis filio.
6 CAP. V. De Cloto, Lachesi et Atropu filiabus Demogorgonis.
7 CAP. VI. De Polo sexto Demogorgonis filio.
8 CAP. VII. De Phytone septimo Demogorgonis filio.
9 CAP. VIII. De Terra ex filiis Demogorgonis octava
10 CAP. IX. De Nocte prima Terre filia. ............... 5 children of Terra (= Gaia)
11 CAP. X. De Fama secunda ex filiis Terre.
12 CAP. XI. De Tartaro IIIo Terre filio.
13 CAP. XII. De Tagete IIIIo Terre filio.
14 CAP. XIII. De Antheo Vo Terre filio.
15 CAP. XIV. De Herebo VIIIIo Demogorgonis filio, cui fuerunt filii XXI.
16 CAP. XV. De Amore primo Herebi filio. ............... 20/21 children of Herebo (= Erebos)
etc
... and I had added ....
There is something strange ... somehow there are 21 filii, but the last seems to be the 20th child. Heribo seems to be the Latin form of Erebus or Erebos.
Erebus means "darkness".
https://en.wikipedia.org/wiki/Erebus
I had a misunderstanding about 20/21 children, it are clearly 21, but the presentation of the 21st (the element Aether) appears in Liber 2. Boccaccio had his reasons for this movement.
Content of Liber II .... according ... https://la.wikisource.org/wiki/De_genea ... r_secundus
1 Prohemium.
2 CAP. I. De Ethere Herebi et Noctis XXIo filio, qui genuit Jovem primum et Celium seu Celum.
etc
Well, I'll try to understand Boccaccio and Boccaccio tried to understand Greek mythology and I've read, that not everybody agreed with Boccaccios conclusions.

I interpret: There was something like Eternity (a sort of "time") [chapter 1] and something like Chaos (a sort of "space") [chapter 2] and a lot of philosophs thought, that the ideas of time and space were a good beginning for a theory about the start of the universe.

https://www.britannica.com/biography/Giovanni-Boccaccio .... by Umberto Besco, a nice short biography
His encyclopaedic De genealogia deorum gentilium (“On the Genealogy of the Gods of the Gentiles”), medieval in structure but humanist in spirit, was probably begun in the very year of his meeting with Petrarch but was continuously corrected and revised until his death.
https://en.wikipedia.org/wiki/Giovanni_Boccaccio
In October 1350, he was delegated to greet Francesco Petrarch as he entered Florence and also to have Petrarch as a guest at Boccaccio's home, during his stay. The meeting between the two was extremely fruitful and they were friends from then on, Boccaccio calling Petrarch his teacher and magister. Petrarch at that time encouraged Boccaccio to study classical Greek and Latin literature. They met again in Padua in 1351, Boccaccio on an official mission to invite Petrarch to take a chair at the university in Florence. Although unsuccessful, the discussions between the two were instrumental in Boccaccio writing the Genealogia deorum gentilium; the first edition was completed in 1360 and this remained one of the key reference works on classical mythology for over 400 years.


Demogorgon has its first appearance in Giovanni Boccaccio, De genealogiis deorum gentilium, Liber primus, in the first chapter called Prohemium.
Complete Liber primus .... http://la.wikisource.org/wiki/De_geneal ... ber_primus .... Latin version
Automatic English translation .... https://la-wikisource-org.translate.goo ... r_pto=wapp

The first Demogorgon and the first Tree
[if you search the first Demogorgon in the complete text, you have to search the word Demogorgon with control-F]
But he who willed the earth to be the producer of all things, as Theodontius says, called the divine mind mixed with it Demogorgon. Whom indeed I consider to be the father and principle of all the gentile gods, since I have found no one to have been his father according to poetical fictions; and with the Ethers I read that there existed not only the father, but the grandfather, and of the other gods of many others, from whom these sprang, of whom mention was made above. Thus, after all having been surveyed, others having been cut off as if superfluous heads and reduced to limbs, having found the starting point of the journey, making Demogorgon not the father of things but of the gods of the nations, we will enter the rugged road through Tenaron or Etna, descending into the bowels of the earth, and before another Stygian ford the fords of the marshes. On the tree marked from above is placed at the top the Demogorgon, turned to the sky at the root, and not only the descendants described below, but the father of all the gods of the nations, and in the branches and leaves descending from him are described his sons and grandsons, of whom all this is written distinctly in the first book as they are signed. But of them Ether alone is received, of whom and his most extensive posterity will be described in the following books. Then there were eight sons of Demogorgon and four sons [this sentence is a translation error, there are 9 children]. Of which the first Litigium, the second Pan, the third Clotho, the third Lachesis, the fifth Atropos, the sixth Pole or Pollux, the seventh Phyton or Phanet, the eigth Terra, and the ninth Herebus.
And another Tree and another Demogorgon
Depicted as a tree of darkness with the majesty of darkness, that old-born ancestor of all the gods of the nations, surrounded on all sides by mists and mists, in the middle of the bowels of the earth walking through the midst of the earth, Demogorgon appeared to me, horrible by his very name, clothed with a kind of mossy pallor and neglected by moisture; Evaporating the earthy foul and stinking smell, and following the poor prince's father in foreign language rather than his own confessed word, he stood me before the new laborer. I laughed, I admit, while I was watching him, remembering the folly of the ancients, who thought that he was eternally begotten by no one, and the father of all things, and hiding in the bowels of the earth. Of course, since this has less to do with work, let us leave him in his misery, proceeding to what we desire. Therefore, Theodontius says that the reason for this insipid credulity was not from studious men, but rather from the most ancient rustics of the Arcadians. Those who, when the people of the Mediterranean were mountainous and semi-wild, and saw the earth of its own accord, produce forests and trees, and send forth flowers, fruits, and seeds, nourish all animals, and at last receive within themselves all that is dying; shaken, to breathe forth winds from hollow places and valleys, and to feel her being stirred at times, and also to emit a roaring sound, and from her bowels to issue fountains, lakes, and rivers of the earth, as if ethereal fire and bright air had sprung from her, and, having been excellently drunk, had issued forth that vast sea of ocean, and from the hills burning flying into the high embers of the sun and the moon, they produced globes, and implicitly at the top of the sky fixed themselves eternally on the stars, a fool to believe. But those who followed after these, feeling a little more profoundly, did not say that the earth was simply the author of these things, but thought that the divine mind was implicit in the understanding and direction of which these things were done, and that this mind had its seat in the subterranean. To which error he increased the belief among the peasants, that he had entered the caves and the deepest recesses of the earth, never in which, as in the process of the languishing light of silence, it seemed to increase, his mind was wont to enter with the native horror of the place, and the unconscious suspicion of the presence of some divinity, the divinity suspected by such people, which they thought to be none other than the Demogorgon. , because his dwelling in the bowels of the earth was believed, as has been said. When, therefore, he was among the most ancient of the Arcades in the highest honor, thinking that the majesty of his divinity would be increased by the silence of his name, either thinking that it was improper for such a lofty name to come into the mouths of mortals, or perhaps fearing that being named might irritate them, by public consent it was forbidden that he should be named by anyone with impunity.
Last edited by Huck on 19 Oct 2023, 07:42, edited 1 time in total.
Huck
http://trionfi.com