SAINT PAUL’S MATHEMATICAL SYSTEM AND ITS INFLUENCE ON DANTE ALIGHIERI’S COMPOSITIONAL STRUCTURE USE TO CODIFIED LA DIVINA COMMEDIA

William John Meegan

More than thirty years ago (April 1983) I envisaged that Dante Alighieri borrowed his ideas for his compositional structure of La Divina Commedia from the compositional structure of Saint Paul’s fourteen epistles; however, the only similarity that I could find at the time was that each of them wrote one hundred (100) chapters in their work. For me at the time that was not enough of evidence to drag Saint Paul into the historical mythoi of La Divina Commedia; though, Dante uses his theology throughout La Divina Commedia. Also there were some very problematic questions that would be raised if there was substantial evidence that Saint Paul did codify and structure a mathematical system into his fourteen epistles. For example, how could Saint Paul have written each of the fourteen epistles spontaneously if he had planned out exactly how many verses he would write in each of the one hundred chapters that he would put pen to paper before he began writing his thesis and that’s exactly what his work turns out to be: a spiritual thesis; though, they may have been epistles to several Churches and/or individuals? I am not saying Saint Paul’s epistles are not spiritual they certainly are but they have much more spiritually to say to the laity than what we have in the exoteric texts. My main theme thirty years ago was to see Saint Paul’s one hundred chapters in a cycle producing a graphic image of a tent since he was a tent maker. I did envisage that image; however, it was meaningless at the time.

I decided today May 4, 2014 to revisit my analysis on Saint Paul’s mathematical structure seeing I had thirty years of experience dealing with the Esoteric Science codified to ancient literature. My first action was simplicity itself. I worked up a chart in the Microsoft Excel Program and listed the books, the amount of chapters in each book and the amount of verses in each chapter and then reach a total for each of the fourteen books (see chart above); thus, I had before me the raw numerical data of Saint Paul’s fourteen epistles comprising one hundred (100) chapters.

The above chart illustrates the bear rudiments of Saint Paul’s numerical data in his fourteen epistles. What I did not recognize thirty years ago was the similarity in the numerical data to Dante Alighieri’s Thirteen Base Numbers. Note there are four epistles with two sixteen chapters and two thirteen chapters. Dante did a like pattern in his numerical structure of the Thirteen Base Numbers (see chart culled out of La Divina Commedia’s mathematics). Dante’s compositional structure is merely a variation on Saint Paul’s method, which is quite acceptable seeing it is not plagiarism:

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meaning it is not an exact copy of Saint Paul work. Saint Paul uses the amount of chapters in an epistle; whereas, Dante fixes the amount of times he will use a Base Number. Where Saint Paul uses an epistle to denote the amount of verses each chapter will use Dante uses the Base Number a designated amount of times to determine the amount of verses used that coincides with Saint Paul’s usage of numerical data.

The mythoi of Saint Paul’s life and his writings represent the foundation upon which much of Christianity’s literature and artworks are based. The graphic patterns in Saint Paul’s epistles are found throughout the basilicas, cathedrals and museums of Catholicism. I am not here saying it is just Saint Paul. Saint John’s Revelations of Jesus Christ and the layout of the New Jerusalem also was an influence on Catholic literature and art; however, all of this hails back to the esoteric writings in the first chapter of Genesis. The whole Old and New Testaments are mathematically structured. It is necessary that the laity see all of these variations on the esoteric science that is the foundation of Catholicism’s ministry and its artworks, which has a great deal to do with that ministry.

Below I produced a graphic image of that cycle I mention above about Saint Paul being a tent maker. It will benefit the reader greatly to do a comparative analysis of Dante Alighieri’s La Divina Commedia’s Mathematical System and Saint Paul’s compositional structure.

Having gone this far it is now time to take Saint Paul’s one hundred chapters and place them sequentially into the 10 x 10 matrix, which I called the UNIVERSAL MATHEMATICAL MATRIX: Prima Materia (Perennial Matrix) as Dante Alighieri did with his one hundred cantos/chapters. Using the chart above outlining Saint Paul’s fourteen epistles numerical data it is not difficult to place this data into the 10 x 10 matrix. The next task was to do exactly what Dante Alighieri did with his 10 x 10 matrix. In Saint Paul’s 14-Epistles I reduced every one of the one hundred chapter’s amount of verses down to their lowest common denominator and then color coded them into the Zodiac’s Quadruplicities: Cardinal (1-4-7 Yellow), Fixed (2-5-8 Red) and Mutable (3-6-9 Blue) signs. The patterns in the matrix are in absolute chaos. There are other ways of analyzing this data, which I will leave for a later date.

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Because of my knowledge of how Dante Alighieri codified his 100-cantos/chapters to his Mathematical Matrix I was able quickly to discern how Saint Paul put into order this chaos that he planned.

The key to understanding Saint Paul’s and Dante Alighieri’s mathematics is the Kamea of Saturn: i.e. 3 x 3 square using each of the first nine digits once and each row, column and diagonal totals to fifteen. About ninety percent of my analysis on Dante Alighieri’s La Divina Commedia Mathematics was based upon my understanding of how he used the Kamea of Saturn. This is because it took almost to 1994 for me to discover the UNIVERSAL MATHEMATICAL MATRIX and how Dante Alighieri used it to codify his La Divina Commedia. From start to finish it took me almost twelve years to envisage a matrix that antiquity used but modernity no longer uses overtly.

I created another chart, which dealt with just the first nine numbers. In Saint Paul’s 10 x 10-matrix I totaled the amount of verses each of the first nine numbers used individually. This enabled me to classify the 100-chapters very quickly into data that I could use to further my analysis.

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It was not difficult to take those nine totals representing Saint Paul’s one hundred (100) chapters and start working them into the Kamea of Saturn before I found how Saint Paul’s used his data.

Notice St Paul’s Kamea 1, all Saint Paul had to do to conceive his compositional structure for his epistles was to outline the 3 x 3 square into a concise pattern totaling one hundred (100). He then created another pattern, which coincided with the glyph of the Capricorn Symbol, which is the sign of the Zodiac that is ruled by the planet Saturn: hence the usage of the Kamea of Saturn. The Jews believe that they are ruled by the planet Saturn. In forming this Capricorn Symbol into a 3 x 3 square he then correlated each of the groups of three numbers to the Zodiac’s Quadruplicities: Cardinal (1-4-7 Yellow), Fixed (2-5-8 Red) and Mutable (3-6-9 Blue) signs. Notice how La Divina Commedia’s Kamea of Saturn is worked by Dante similar to St Paul’s Kamea 1.

St Paul’s Kamea 2 is worked by Saint Paul very similar to how the KAMEA OF SATURN is numerically laid out. All Saint Paul did was reduce the amount of time the first nine numbers were used in his one hundred chapter and reduced them to their lowest common denominators. St Paul’s Kamea 2 uses half of the numerical pattern in the rows, columns and diagonal in the KAMEA OF SATURN, which again goes to illustrating where Saint Paul initially obtains his esoteric ideas.

When comparing Purgatorio’s Kamea to St Paul’s Kamea 1 it is not difficult to envisage that they are duplicate patterns. Take St Paul’s Kamea 1 and rotate it clockwise or counterclockwise and it eventually will arrange itself to align with Dante’s Purgatorio’s Kamea. Here is where the definitive evidence comes in besides the other data presented.

What is most intriguing about Saint Paul’s numerical data and Dante’s Alighieri’s compositional structure of La Divina Commedia is seen in how Dante Alighieri worked the Capricorn Symbol in the Kamea of Saturn to coincide perfectly with St Paul’s Kamea 2. Here the clockwise and counterclockwise maneuver is not necessary to align and synch with the other graphic image.

I included the 5 x 5 matrix – Capricorn Symbol by Fours to illustrate that Dante codified the Capricorn Symbol into his work numerous times. Beatrice Dante’s so-called eternal love was said to be born in January, which is in the sign of Capricorn and ruled by Saturn. Ostensibly Beatrice is Dante’s reason for having such an obsession with the sign of Capricorn, which I would dispute seeing that the first two verses of Genesis also codifies the Capricorn Symbol into its texts and then there is the additional epistles of Saint Paul that gives credence to the Capricorn Symbol usage in literary graphics long before Beatrice became a fictional character in La Divina Commedia. Dante may be guilty of just aligning the name of Beatrice to the same spiritual principle that other authors have.

IN CONCLUSION

Revisiting Saint Paul’s numerical data after thirty years has pleasantly surprised me in many ways especially in how quickly I was able to gather together the evidence of how his work influenced La Divina Commedia compositional structure.

As short as this paper is, it is certainly going to raise some eyebrows and throw up many red flags as to who the author(s) of those fourteen epistles are. Who, really, was Saint Paul???...

In my view, Saint Paul is that fictional character (the generic man) that represents the everyday man that has a spiritual vision. Getting tossed from his horse as his mythoi would have it is Saint Paul getting tossed from his ego: i.e. horse. The horse has always symbolized the psyche. Ego-consciousness is what kills Christians and the mythoi of Saint Paul have him as a Christian slayer before he had his vision of Christ.

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