GOD=DOG STAR=JESUS BOSSOM=LUCIFERS ANUS SATURN CUBE RABBIT HOLE
HAL-EYE-EL 900 IS LUCIFER thegame23 WHITE RABBIT (BANNED AGAIN)
MKULTRANorthAmerica (BITCHUTE CHANNEL THATS STILL UP)
LUCIFER TELLS LILITH ABOUT HIS EVIL FRIENDS ,SATURN CUBE HAL-900=HAL LOOSH SIN NATION(VIDEO)
Please don’t get offended by this or construe this as intentional blasphemy. I’m not saying that our creator God did not have a begotten son who is also the Messiah. I believe he did in Ahayah Yashiya and this son was killed in a different way than we were told(a sword to the chest), in a different location than we were told(unknown location, but somewhere cold up north), and had a totally different physical appearance(either of a middle eastern ethnicity or of an otherworldly physical appearance). I suspect that the King of the North paridigm in Game of Thrones is a nod to this northern location where I think the real murder of the real Messiah occurred. Jon Snow was murdered and then resurrected in the show.
But the figure that we know as Jesus(JeZues[Zues], Iseous[Isis]) is nothing more than another one of the avatars for the devil(Lucifer/the Dragon). Is it really that surprising to find out that we’ve been deceived this whole time? Go cry in the corner. Don’t get any tears on my post.
Quinn Michaels = St. Nicholas = St. Germaine = Qanon = The Kek🐸 Virus = The Saturn Cube Portal🪐 = MYK HYN = The Kin of the Serpent/Dragon/HaSatan/Lucifer/Abbadon
Indra = Blue Dragon = Quinn Michaels = Lucifer = Apolloyon = Galdrux = Morkul = The Shadow Man = The Purple Rainman
Moon Harvester = Pacman
ACIO = Saturn Portal = Black Sun = Rainbow Bridge 🌈 = Portal to Hell = Cicada 3301 = 33/Tet Portal = SS
Hal 9000 = Hell
Topside Support = Angels(the good ones?) Who even knows anymore. It appears that St. Michael & the rest of the pantheon of Angelic characters were all spawns of the Demiurge. This includes Moses, Noah, Abraham and the false white Jesus Messiah AntiChrist character.
The light was departing. The brown air drew down
all the earth’s creatures, calling them to rest
from their day-roving, as I, one man alone,
prepared myself to face the double war
of the journey and the pity, which memory
shall here set down, nor hesitate, nor err.
Reading Dante’s Inferno, and Divine Comedy generally, can seem a daunting task, what with the book’s wealth of allusion to 14th century Florentine politics and medieval Catholic theology. Much depends upon a good translation. Maybe it’s fitting that the proverb about translators as traitors comes from Italian. The first Dante that came my way—the unabridged Carlyle-Okey-Wicksteed English translation—renders the poet’s terza rima in leaden prose, which may well be a literary betrayal.
Gone is the rhyme scheme, self-contained stanzas, and poetic compression, replaced by wordiness, antiquated diction, and needless density. I labored through the text and did not much enjoy it. I’m far from an expert by any stretch, but was much relieved to later discover John Ciardi’s more faithful English rendering, which immediately impresses upon the senses and the memory, as in the description above in the first stanzas of Canto II.
The sole advantage, perhaps, of the translation I first encountered lies in its use of illustrations, maps, and diagrams. While readers can follow the poem’s vivid action without visual aids, these lend to the text a kind of imaginative materiality: saying yes, of course, this is a real place—see, it’s right here! We can suspend our disbelief, perhaps, in Catholic doctrine and, doubly, in Dante’s weirdly officious, comically bureaucratic, scheme of hell.
Indeed, readers of Dante have been inspired to map his Inferno for almost as long as they have been inspired to translate it into other languages—and we might consider these maps more-or-less-faithful visual translations of the Inferno’s descriptions. One of the first maps of Dante’s hell (top) appeared in Sandro Botticelli’s series of ninety illustrations, which the Renaissance great and fellow Florentine made on commission for Lorenzo de’Medici in the 1480s and 90s.
Botticelli’s “Chart of Hell,” writes Deborah Parker, “has long been lauded as one of the most compelling visual representations… a panoptic display of the descent made by Dante and Virgil through the ‘abysmal valley of pain.’” Below it, we see one of Antonio Manetti’s 1506 woodcut illustrations, a series of cross-sections and detailed views. Maps continued to proliferate: see printmaker Antonio Maretti’s 1529 diagram further up, Joannes Stradanus’ 1587 version, above, and, below, a 1612 illustration below by Jacques Callot.
Dante’s hell lends itself to any number of visual treatments, from the purely schematic to the broadly imaginative and interpretive. Michelangelo Caetani’s 1855 cross-section chart, below, lacks the illustrative detail of other maps, but its use of color and highly organized labeling system makes it far more legible that Callot’s beautiful but busy drawing above.
Though we are within our rights as readers to see Dante’s hell as purely metaphorical, there are historical reasons beyond religious belief for why more literal maps became popular in the 15th century, “including,” writes Atlas Obscura, “the general popularity of cartography at the time and the Renaissance obsession with proportions and measurement.”
Even after hundreds of years of cultural shifts and upheavals, the Inferno and its humorous and horrific scenes of torture still retain a fascination for modern readers and for illustrators like Daniel Heald, whose 1994 map, above, while lacking Botticelli’s gilded brilliance, presents us with a clear visual guide through that perplexing valley of pain, which remains—in the right translation or, doubtless, in its original language—a pleasure for readers who are willing to descend into its circular depths. Or, short of that, we can take a digital train and escalators into an 8-bit video game version.
via Atlas Obscura