Dantes Inferno (Göttliche Komödie)

Gustave Doré's engravings illustrated the Divine Comedy (1861–1868); here Dante is lost in Canto 1 of the Inferno

Inferno (Italian for "Hell") is the first part of Dante Alighieri's fourteenth-century epic poem Divine Comedy. It is followed by Purgatorio and Paradiso. It is an allegory telling of the journey of Dante through what is largely the medieval concept of Hell, guided by the Roman poet Virgil. In the poem, Hell is depicted as nine circles of suffering located within the Earth. Allegorically, the Divine Comedy represents the journey of the soul towards God, with the Inferno describing the recognition and rejection of sin.

Overview

The poem begins on the day before Good Friday in the year 1300. The narrator, Dante Alighieri himself, is thirty-five years old, and thus "halfway along our life's path" (Nel mezzo del cammin di nostra vita)—half of the Biblical life expectancy of seventy (Psalm 90:10). The poem finds him lost in a dark wood. The forest may symbolize the narrator's contemplations of suicide, considering later references to suicide and its connection to the woods. He is assailed by beasts (a lion, a leopard, and a she-wolf) he cannot evade, and unable to find the "straight way" (diritta via)—also translatable as "right way"—to salvation (symbolized by the sun behind the mountain). Conscious that he is ruining himself and that he is falling into a "deep place" (basso loco) where the sun is silent ('l sol tace), Dante is at last rescued by the Roman poet Virgil, and the two of them begin their journey to the underworld. Each sin's punishment in Inferno is a contrapasso, a symbolic instance of poetic justice; for example, fortune-tellers have to walk forwards with their heads on backwards, unable to see what is ahead, because they tried to look ahead to the future in life.

Allegorically, the Inferno represents the Christian soul seeing sin for what it really is, and the three beasts represent three types of sin: the self-indulgent, the violent, and the malicious. These three types of sin also provide the three main divisions of Dante's Hell: Upper Hell (the first 5 Circles) for the self-indulgent sins; Circles 6 and 7 for the violent sins; and Circles 8 and 9 for the malicious sins.

The Barque of Dante by Eugène Delacroix

Dante passes through the gate of Hell, which bears an inscription, the ninth (and final) line of which is the famous phrase "Lasciate ogne speranza, voi ch'intrate", or "Abandon all hope, ye who enter here" Before entering Hell completely, Dante and his guide see the Uncommitted, souls of people who in life did nothing, neither for good nor evil (among these Dante recognizes either Pope Celestine V or Pontius Pilate; the text is ambiguous). Mixed with them are outcasts who took no side in the Rebellion of Angels. These souls are neither in Hell nor out of it, but reside on the shores of the Acheron, their punishment to eternally pursue a banner (i.e. self interest) while pursued by wasps and hornets that continually sting them while maggots and other such insects drink their blood and tears. This symbolizes the sting of their conscience and the repugnance of sin (as with the Purgatorio and Paradiso, the Inferno has a structure of 9+1=10, with this "vestibule" different in nature from the nine circles of Hell, and separated from them by the Acheron).

Then Dante and Virgil reach the ferry that will take them across the river Acheron and to Hell. The ferry is piloted by Charon, who does not want to let Dante enter, for he is a living being. Virgil forces Charon to take him by means of another famous line Vuolsi così colà ove si puote (which translates to So it is wanted there where the power lies, referring to the fact that Dante is on his journey on divine grounds), but their passage across is undescribed since Dante faints and does not awake until he is on the other side.

Virgil guides Dante through the nine circles of Hell. The circles are concentric, representing a gradual increase in wickedness, and culminating at the center of the earth, where Satan is held in bondage. Each circle's sinners are punished in a fashion fitting their crimes: each sinner is afflicted for all of eternity by the chief sin he committed. People who sinned but prayed for forgiveness before their deaths are found not in Hell but in Purgatory, where they labor to be free of their sins. Those in Hell are people who tried to justify their sins and are unrepentant. Furthermore, those in Hell have knowledge of the past and future, but not of the present. This is a joke on them in Dante's mind because after the Last Judgment, time ends; those in Hell would then know nothing.Vorlage:Citation needed

First Circle (Limbo)

Here reside the unbaptized and the virtuous pagans, who, though not sinful, did not accept Christ. They are not punished in an active sense, but rather grieve only their separation from God, without hope of reconciliation. Limbo shares many characteristics with the Asphodel Meadows; thus the guiltless damned are punished by living in a deficient form of Heaven. Without baptism ("the portal of faith," Canto IV.36) they lacked the hope for something greater than rational minds can conceive. Limbo includes green fields and a castle, the dwelling place of the wisest men of antiquity, including Virgil himself, as well as the Islamic philosophers Averroes and Avicenna. In the castle Dante meets the poets Homer, Horace, Ovid, and Lucan and the philosophers Socrates and Aristotle as well as the Roman general and politician Julius Caesar. Interestingly, he also sees Saladin in Limbo (Canto IV). Dante implies that all virtuous pagans find themselves here, although he later encounters two (Cato of Utica and Statius) in Purgatory and two in heaven (Trajan and Ripheus). wie dit leest is een schaap...

Beyond the first circle, all of those condemned for active, deliberately willed sin are judged by Minos, who sentences each soul to one of the lower eight circles by wrapping his tail around himself a corresponding number of times. The lower circles are structured according to the classical (Aristotelian) conception of virtue and vice, so that they are grouped into the sins of incontinence, violence, and fraud (which for many commentators are represented by the leopard, lion, and she-wolf). The sins of incontinence — weakness in controlling one's desires and natural urges — are the mildest among them, and, correspondingly, appear first, while the sins of violence and fraud appear lower down.

Gianciotto Discovers Paolo and Francesca by Jean Auguste Dominique Ingres

Second Circle (Lust)

Those overcome by lust are punished in this circle. Dante condemns these "carnal malefactors" for letting their appetites sway their reason. They are the first ones to be truly punished in Hell. These souls are blown about to and fro by the terrible winds of a violent storm, without hope of rest. This symbolizes the power of lust to blow one about needlessly and aimlessly. In this circle, Dante sees Semiramis, Dido, Cleopatra, Helen of Troy, Achilles and many others who were overcome by sensual love during their life. Dante is informed by Francesca da Rimini of how she and her husband's brother Paolo committed adultery and died a violent death at the hands of her husband (Canto V).

Third Circle (Gluttony)

Cerberus guards the gluttons, forced to lie in a vile slush made by freezing rain, black snow (ash), and hail. This symbolizes the garbage that the gluttons made of their lives on earth, slavering over food. Dante converses with a Florentine contemporary identified as Ciacco ("Hog"—probably a nickname) regarding strife in Florence and the fate of prominent Florentines (Canto VI).

Fourth Circle (Avarice or Greed)

In Gustave Doré's illustrations for the fourth circle, the weights are huge money bags

Those whose attitude toward material goods deviated from the desired mean are punished in this circle. They include the avaricious or miserly, who hoarded possessions, and the prodigal, who squandered them. Guarded by Plutus, the Roman god of wealth, the two groups joust, using as weapons great weights which they push with their chests (Canto VII):

"… I saw multitudes
to every side of me; their howls were loud
while, wheeling weights, they used their chests to push.
They struck against each other; at that point,
each turned around and, wheeling back those weights,
cried out: Why do you hoard? Why do you squander?' "

Fifth Circle (Wrath and Sullenness)

In the swamp-like water of the river Styx, the wrathful fight each other on the surface, and the sullen lie gurgling beneath the water, withdrawn "into a black sulkiness which can find no joy in God or man or the universe." Phlegyas reluctantly transports Dante and Virgil across the Styx in his skiff. On the way they are accosted by Filippo Argenti, a Black Guelph from a prominent family (Cantos VII and VIII). When Dante responds "In weeping and in grieving, accursed spirit, may you long remain," Virgil blesses him. Literally, this reflects the fact that souls in Hell are eternally fixed in the state they have chosen, but allegorically, it reflects Dante's beginning awareness of his own sin.

The lower parts of Hell are contained within the walls of the city of Dis, which is itself surrounded by the Stygian marsh. Punished within Dis are active (rather than passive) sins. The walls of Dis are guarded by fallen angels. Virgil is unable to convince them to let Dante and him enter, and the Furies and Medusa threaten Dante. An angel sent from Heaven secures entry for the poets, opening the gate by touching it with a wand, and rebuking those who opposed Dante (Cantos VIII and IX).

Sixth Circle (Heresy)

Heretics, such as Epicurians, are trapped in flaming tombs. Dante holds discourse with a pair of Epicurian Florentines in one of the tombs: Farinata degli Uberti, a Ghibelline; and Cavalcante de' Cavalcanti, a Guelph who was the father of Dante's friend and fellow poet Guido Cavalcanti (Cantos X and XI).

Cavalcante explains to Dante that what the souls in Hell know of life on earth comes from seeing the future, so that when "the portal of the future has been shut," it will no longer be possible for them to know anything.

Seventh Circle (Violence)

Lower Hell, inside the walls of Dis, in an illustration by Stradanus. There is a drop from the sixth circle to the three rings of the seventh circle, then again to the ten rings of the eighth circle, and, at the bottom, to the icy ninth circle.

This circle houses the violent. Its entry is guarded by the Minotaur, and it is divided into three rings:

• Outer ring, housing the violent against people and property, who are immersed in Phlegethon, a river of boiling blood, to a level commensurate with their sins: Alexander the Great is up to his eyebrows in it. The Centaurs, commanded by Chiron, patrol the ring, firing arrows into those trying to escape. The centaur Nessus guides the poets along Phlegethon and across a ford in the river (Canto XII). This passage may have been influenced by the early medieval Visio Karoli Grossi.

• Middle ring: In this ring are the suicides, who are transformed into gnarled thorny bushes and trees. They are torn at by the Harpies. Unique among the dead, the suicides will not be bodily resurrected after the final judgment, having given their bodies away through suicide. Instead they will maintain their bushy form, with their own corpses hanging from the limbs. Dante breaks a twig off one of the bushes and hears the tale of Pier delle Vigne, who committed suicide after falling out of favor with Emperor Frederick II. The other residents of this ring are the profligates, who destroyed their lives by destroying the means by which life is sustained (i.e. money and property). They are perpetually chased by ferocious dogs through the thorny undergrowth. (Canto XIII) The trees are a metaphor; in life the only way of the relief of suffering was through pain (i.e. suicide) and in Hell, the only form of relief of the suffering is through pain (breaking of the limbs to bleed).

• Inner ring: The violent against God (blasphemers), the violent against nature (sodomites), and the violent against order (usurers), all reside in a desert of flaming sand with fiery flakes raining from the sky. The blasphemers lie on the sand, the usurers sit, and the sodomites wander about in groups. Dante converses with two Florentine sodomites from different groups. One of them is Dante's mentor, Brunetto Latini. Dante is very surprised and touched by this encounter and shows Brunetto great respect for what he has taught him. The other is Iacopo Rusticucci, a politician. (Cantos XIV through XVI) Those punished here for usury include the Florentines Catello di Rosso Gianfigliazzi, Ciappo Ubriachi, and Giovanni di Buiamonte and the Paduans Reginaldo degli Scrovegni and Vitaliano di Iacopo Vitaliani.

Eighth Circle (Fraud)

The last two circles of Hell punish sins that involve conscious fraud or treachery. The circles can be reached only by descending a vast cliff, which Dante and Virgil do on the back of Geryon, a winged monster represented by Dante as having the face of an honest man and a body that ends in a scorpion-like stinger (Canto XVII). (He is possibly not in his original form as a three bodied man to avoid confusion with Satan.)

The fraudulent—those guilty of deliberate, knowing evil—are located in a circle named Malebolge ("Evil Pockets"), divided into ten bolgie, or ditches of stone, with bridges spanning the ditches:

• Bolgia 1: Panderers (pimps) and seducers march in separate lines in opposite directions, whipped by demons. Just as they misled others in life, they are driven to march by demons for all eternity. In the group of panderers the poets notice Venedico Caccianemico, who sold his own sister to the Marchese d'Este, and in the group of seducers Virgil points out Jason (Canto XVIII).
• Bolgia 2: Flatterers are steeped in human excrement. This is because their flatteries on earth were nothing but "a load of excrement" (Canto XVIII).
• Bolgia 3: Those who committed simony are placed head-first in holes in the rock which resemble baptismal fonts, with flames burning on the soles of their feet (resembling an inverted baptism, and symbolic of the Church offices they sold). One of them, Pope Nicholas III, denounces as simonists two of his successors, Pope Boniface VIII and Pope Clement V (Canto XIX).

Datei:Inferno Canto 21 verses 22-213.jpg

Ciampolo escapes back into the pitch.

Dante's guide rebuffs Malacoda and his fiends between bolgie five and six in the Eighth Circle of Hell, Inferno, Canto 21.

Dante climbs the flinty steps in bolgia seven in the Eighth Circle of Hell, Inferno, Canto 26.

Dante speaks to the traitors in the ice, Inferno, Canto 32.

• Bolgia 4: Sorcerers and false prophets have their heads twisted around on their bodies backward. In addition, they cry so many tears that they cannot see. This is symbolic because these people tried to see into the future by forbidden means (and possibly retribution for the delusions they concocted that probably led their followers to their own perils); thus in Hell they can only see what is behind them and cannot see forward (Canto XX).
• Bolgia 5: Corrupt politicians (barrators) are immersed in a lake of boiling pitch, which represents the sticky fingers and dark secrets of their corrupt deals. They are guarded by devils called the Malebranche ("Evil Claws"). Their leader, Malacoda ("Evil Tail"), assigns a troop to escort Virgil and Dante to the next bridge. The troop hook and torment one of the sinners (identified by early commentators as Ciampolo), who names some Italian grafters and then tricks the Malebranche in order to escape back into the pitch (Cantos XXI through XXIII).
• Bolgia 6: The bridge over this bolgia is broken: the poets climb down into it and find the Hypocrites listlessly walking along wearing gilded lead cloaks. Dante speaks with Catalano and Loderingo, members of the Jovial Friars. The poets also discover that the guardians of the fraudulent (the malebranche) are hypocrites themselves, as they find that they have lied to them, giving false directions, when at the same time they are punishing liars for similar sins. Caiaphas, the high priest responsible for ordering Jesus crucified, is seen here; he is crucified to the ground, while the others trample over him (Canto XXIII).
• Bolgia 7: Thieves, guarded by the centaur (as Dante describes him) Cacus, who has a fire-breathing dragon on him (in his original form Cacus was a fire-breathing monster slain by Heracles), are pursued and bitten by snakes and lizards. The snake bites make them undergo various transformations, with some resurrected after being turned to ashes, some mutating into new creatures, and still others exchanging natures with the reptiles, becoming lizards themselves that chase the other thieves in turn. Just as the thieves stole other people's substance in life, and because thievery is reptilian in its secrecy, the thieves' substance is eaten away by reptiles and their bodies are constantly stolen by other thieves (Cantos XXIV and XXV).
• Bolgia 8: Fraudulent advisors are encased in individual flames. They, like their true thoughts in life, cannot be seen. Dante includes Ulysses and Diomedes together here for their role in the Trojan War. Ulysses tells the tale of his fatal final voyage (an invention of Dante's), where he left his home and family to sail to the end of the Earth. He equated life as a pursuit of knowledge that humanity can attain through effort, and in his search God sank his ship outside of Mount Purgatory. Guido da Montefeltro recounts how his advice to Pope Boniface VIII resulted in his damnation, despite Boniface's promise of absolution (Cantos XXVI and XXVII).
• Bolgia 9: A sword-wielding demon hacks at the sowers of discord, dividing parts of their bodies as in life they divided others. As they make their rounds the wounds heal, only to have the demon tear apart their bodies again. "See how I rend myself! How mutilated, see, is Mahomet; In front of me doth Ali weeping go, Cleft in the face from forelock unto chin; And all the others whom thou here beholdest, Disseminators of scandal and of schism. While living were, and therefore are cleft thus." Muhammad tells Dante to warn the schismatic and heretic Fra Dolcino (Cantos XXVIII and XXIX). Dante describes Muhammad as a schismatic, apparently viewing Islam as an off-shoot from Christianity, and similarly Dante seems to condemn Ali for schism between Sunni and Shiite. Dante also encounters Bertran de Born, who carries around his severed head like a lantern, as a punishment for (Dante believes) fomenting the rebellion of Henry the Young King against his father Henry II.
• Bolgia 10: Here various sorts of falsifiers (alchemists, counterfeiters, perjurers, and impersonators), who are a disease on society, are themselves afflicted with different types of diseases (Cantos XXIX and XXX). Potiphar's wife is briefly mentioned here for her false accusation of Joseph. In the notes on her translation, Dorothy L. Sayers remarks that the descent through Malebolge "began with the sale of the sexual relationship, and went on to the sale of Church and State; now, the very money is itself corrupted, every affirmation has become perjury, and every identity a lie;" so that every aspect of social interaction has been progressively destroyed.

Ninth Circle (Treason)

The Ninth Circle is ringed by classical and Biblical giants, perhaps to partly represent the Titans and rebellious Gigantes of Greek mythology who were imprisoned in Tartarus by the gods. The giants are standing either on the ninth circle of Hell, or on a ledge above it, and are visible from the waist up at the ninth circle of the Malebolge. The giant Antaeus lowers Dante and Virgil into the pit that forms the ninth circle of Hell. (Canto XXXI) Traitors, distinguished from the "merely" fraudulent in that their acts involve betraying one in a special relationship to the betrayer, are frozen in a lake of ice known as Cocytus. Each group of traitors is encased in ice to a different depth, ranging from only the neck and through to complete immersion. The circle is divided into four concentric zones:

• Round 1: Caïna, named for Cain, is home to traitors to their kindred. The souls here are immersed in the ice up to their faces – "the place where shame can show itself." (Canto XXXII)
• Round 2: Antenora is named for Antenor of Troy, who according to medieval tradition betrayed his city to the Greeks. Traitors to political entities, such as party, city, or country, are located here. Count Ugolino pauses from gnawing on the head of his rival Archbishop Ruggieri to describe how Ruggieri imprisoned him along with his children, condemning them to death by starvation. The souls here are immersed in the ice deep enough that they are unable to bend their necks. (Cantos XXXII and XXXIII)
• Round 3: Ptolomaea is probably named for Ptolemy, son of Abubus, who invited Simon Maccabaeus and his sons to a banquet and then killed them. Traitors to their guests are punished here. Fra Alberigo explains that sometimes a soul falls here before Atropos cuts the thread of life. Their bodies on Earth are immediately possessed by a demon. The souls here lay supine on the ice, which covers them except for half of their faces. As they cry, their tears freeze and seal their eyes shut–they are denied even the comfort of tears. (Canto XXXIII)
• Round 4: Judecca, named for Judas Iscariot, Biblical betrayer of Christ, is for traitors to their lords and benefactors. All of the sinners punished within are completely encapsulated in ice, distorted in all conceivable positions.

Satan is trapped in the frozen central zone in the Ninth Circle of Hell, Inferno, Canto 34.

Dante and Virgil, with no one to talk to, quickly move on to the center of hell. Condemned to the very center of hell for committing the ultimate sin (personal treachery against God) is Satan (Lucifer), who has three faces, one red, one black, and one a pale yellow, each having a mouth that chews on a prominent traitor. Satan himself is represented as a giant, terrifying beast, weeping tears from his six eyes, which mix with the traitors' blood sickeningly. He is waist deep in ice, and beats his six wings as if trying to escape, but the icy wind that emanates only further ensures his imprisonment (as well as that of the others in the ring). The sinners in the mouths of Satan are Brutus and Cassius in the left and right mouths, respectively. They were involved in the assassination of Julius Caesar—an act which, to Dante, represented the destruction of a unified Italy and the killing of the man who was divinely appointed to govern the world. In the central, most vicious mouth is Judas Iscariot—the namesake of this zone and the betrayer of Jesus. Judas is being administered the most horrifying torture of the three traitors, his head in the mouth of Satan, and his back being forever skinned by Satan's claws. (Canto XXXIV) What is seen here is a perverted trinity: Satan is impotent, ignorant, and evil while God can be attributed as the opposite: all powerful, all knowing, and good. The two poets escape by climbing down Satan's ragged fur, passing through the center of the earth, emerging in the other hemisphere (described in the Purgatorio) just before dawn on Easter Sunday, beneath a sky studded with stars.

See also

• Allegory in the Middle Ages
• Dante's Satan
• List of cultural references in The Divine Comedy

External links

Wikisource: Divine Comedy/Inferno – Quellen und Volltexte

• World of Dante Multimedia website that offers Italian text of Divine Comedy, Allen Mandelbaum's translation, gallery, interactive maps, timeline, musical recordings, and searchable database for students and teachers by Deborah Parker and IATH (Institute for Advanced Technologies in the Humanities) of the University of Virginia
• Princeton Dante Project Website that offers the complete text of the Divine Comedy (and Dante's other works) in Italian and English along with audio accompaniment in both languages. Includes historical and interpretive annotation.
• Dante Dartmouth Project: Full text of more than 70 Italian, Latin, and English commentaries on the Commedia, ranging in date from 1322 (Iacopo Alighieri) to the 2000s (Robert Hollander)
• Dante's Divine Comedy presented by the Electronic Literature Foundation. Multiple editions, with Italian and English facing page and interpolated versions.
• The Comedy in English: trans. Cary (with Doré's illustrations) (HTML), trans. Cary (with Doré's illustrations) (zipped HTML downloadable from Project Gutenberg), Cary/Longfellow/Mandelbaum parallel edition
• On-line Concordance to the Divine Comedy
• Audiobooks: Public domain recordings from LibriVox (in Italian, Longfellow translation); some additional recordings
• Wikisummaries summary and analysis of "Inferno"
• Danteworlds, multimedia presentation of the Divine Comedy for students by Guy Raffa of the University of Texas
• Dante's Places: a map (still a prototype) of the places named by Dante in the Commedia, created with GoogleMaps. Explanatory PDF is available for download
• Inferno study guide, analysis, multimedia, teacher resources