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{{Divine Comedy}}
{{Divine Comedy}}
'''''Inferno''''' ({{IPA-it|imˈfɛrno|pron}}; Italian for "[[Christian views on hell|Hell]]") is the first part of [[Dante Alighieri]]'s 14th-century epic poem ''[[Divine Comedy]]''. It is followed by ''[[Purgatorio]]'' and ''[[Paradiso (Dante)|Paradiso]]''. It is an [[allegory]] telling of the journey of Dante through Hell, guided by the [[Ancient Rome|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 toward God, with the ''Inferno'' describing the recognition and rejection of sin.<ref>[[Dorothy L. Sayers]], ''Hell'', notes on page 19.</ref>
'''''Inferno''''' ({{IPA-it|imˈfɛrno|pron}}; Italian for "[[Christian views on hell|Hell]]") is the first part of [[Dante Alighieri]]'s 14th-century epic poem ''[[Divine Comedy]]''. It is followed by ''[[Purgatorio]]'' and ''[[Paradiso (Dante)|Paradiso]]''. It is an [[allegory]] telling of the journey of Dante through Hell, guided by the [[Ancient Rome|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 toward God, with the ''Inferno'' describing the recognition and rejection of sin.<ref>[[Dorothy L. Sayers]], ''Hell'', notes on page 19.</ref>
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==Overview and vestibule of Hell==
The poem starts on [[Maundy Thursday]] in the year 1300.<ref>Hollander, Robert (2000). [https://books.google.com/books?id=gkCBRhm3x9wC&pg=PA14 Note on ''Inferno'' I.11]. In Robert and Jean Hollander, trans., ''The Inferno'' by Dante. New York: Random House. p. 14. ISBN 0-385-49698-2</ref> The narrator, Dante 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 lifespan of seventy ([[Psalms]] 89:10<!-- do not change to Ps. 90; in the Vulgate, as specified, the chapter is 89 -->, Vulgate). The poet finds himself lost in a dark [[forest|wood]] (''selva oscura'') in front of a mountain, assailed by three beasts (a [[lion]], a ''lonza'' [usually rendered as "[[leopard]]" or "[[leopon]]"],<ref>{{Cite journal | first = Gloria | last = Allaire | title = New evidence towards identifying Dante's enigmatic ''lonza'' |publisher = Electronic Bulletin of the Dante Society of America | date = 7 August 1997 | url = http://www.princeton.edu/~dante/ebdsa/ga97.htm | postscript = <!-- Bot inserted parameter. Either remove it; or change its value to "." for the cite to end in a ".", as necessary. -->{{inconsistent citations}}}} – defines ''lonza'' as the result of an unnatural pairing between a leopard and a lioness in [[Andrea da Barberino]] ''Guerrino meschino''.</ref> and a [[Gray wolf|she-wolf]]) he cannot evade. Unable to find the "straight way" (''diritta via'', also translatable as "right way") to salvation, he is conscious that he is ruining himself and 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]], who claims to have been sent by [[Beatrice Portinari|Beatrice]], 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-teller]]s have to walk forward with their heads on backward, unable to see what is ahead, because they tried to see the future through forbidden means. Such a ''contrapasso'' "functions not merely as a form of [[Divine retribution|divine revenge]], but rather as the fulfilment of a destiny [[Free will|freely chosen]] by each soul during his or her life."<ref>{{Cite book | first = Peter |last = Brand | first2=Lino |last2 = Pertile |url = http://books.google.com.au/books?id=3uq0bObScHMC&pg=PA63 | title = The Cambridge History of Italian Literature |edition = 2nd | publisher = Cambridge University Press |year = 1999 | isbn =0-521-66622-8 |pages = 63–64}}</ref>

Dante passes through the gate of Hell, which bears an inscription ending with the famous phrase "''Lasciate ogne<!--Please do not "correct" this to ogni. Please consult a critical edition of the Commedia first. Online, see the Princeton Dante Project: http://etcweb.princeton.edu/cgi-bin/dante/campuscgi/mpb/GetCantoSection.pl?LANG=2&INP_POEM=Inf&INP_SECT=3&INP_START=7&INP_LEN=15 --> speranza, voi ch'intrate<!--Please do not "correct" to entrate; see prev. comment.-->''", most frequently translated as "Abandon all hope, ye who enter here."<ref>There are many English translations of this famous line. Some examples include
*''All hope abandon, ye who enter here'' - [[Henry Francis Cary]] (1805–1814)<!--depending on which edition it first appeared in-->
*''All hope abandon, ye who enter in!'' - [[Henry Wadsworth Longfellow]] (1882)
*''Leave every hope, ye who enter!'' - [[Charles Eliot Norton]] (1891)
*''Leave all hope, ye that enter'' - [[Carlyle Okey-Wicksteed]] (1932)
*''Lay down all hope, you that go in by me.'' - [[Dorothy L. Sayers]] (1949)
*''Abandon all hope, ye who enter here'' - [[John Ciardi]] (1954)
*''Abandon every hope, you who enter.'' - [[Charles S. Singleton]] (1970)
*''No room for hope, when you enter this place'' - [[C. H. Sisson]] (1980)
*''Abandon every hope, who enter here.'' - [[Allen Mandelbaum]] (1982)
*''Abandon all hope, you who enter here.'' - [[Robert Pinsky]] (1993)
*''Abandon every hope, all you who enter'' - [[Mark Musa]] (1995)
*''Abandon every hope, you who enter.'' - [[Robert M. Durling]] (1996)
Verbatim, the line translates as "Leave (''lasciate'') every (''ogne'') hope (''speranza''), ye (''voi'') that (''ch''') enter (''intrate'')."</ref>

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 [[War in Heaven|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 [[wasp]]s and [[hornet]]s that continually sting them as [[maggot]]s and other such insects drink their blood and tears. This symbolizes the sting of their [[conscience]] and the repugnance of sin. This may also be seen as a reflection of the spiritual stagnation they lived in. As with the ''[[Purgatorio]]'' and ''[[Paradiso (Dante)|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.

[[File:Eugène Ferdinand Victor Delacroix 006.jpg|thumb|''[[The Barque of Dante]]'' by [[Eugène Delacroix]]]]
After passing through the "vestibule," Dante and Virgil reach the ferry that will take them across the river Acheron and to Hell proper. The ferry is piloted by [[Charon (mythology)|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 dove 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. The wailing and blasphemy of the damned souls entering Charon's boat contrast with the joyful singing of the blessed souls arriving by ferry in the ''[[Purgatorio]]''. The passage across the Acheron, however, is undescribed, since Dante faints and does not awaken until he is on the other side.

Virgil then guides Dante through the nine circles of Hell. The circles are [[concentric]], representing a gradual increase in [[wickedness]], and culminating at the centre of the earth, where [[Satan]] is held in bondage. The sinners of each circle 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 labour to be free of their sins. Those in Hell are people who tried to justify their sins and are unrepentant.

Allegorically, the ''Inferno'' represents the Christian soul seeing [[sin]] for what it really is. What the three beasts may represent has been the subject of much controversy over the centuries, but one suggestion is that they represent three types of sin: the self-indulgent, the violent, and the malicious.<ref>Dorothy L. Sayers, ''Hell'', notes on page 75.</ref> 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 sins may also be split into sins of incontinence (upper hell), named so because of their passionate and uncontrolled nature, and sins of malice (lower hell), where the sins are premeditated.

==Nine circles of Hell==
[[File:Harrowhell.jpg|upright|thumb|left|The [[Harrowing of Hell]], in a 14th-century [[illuminated manuscript]], the ''[[Petites Heures of Jean de France, Duc de Berry|Petites Heures de Jean de Berry]]'']]

===First Circle (Limbo)===
In [[Limbo]] reside the [[Baptism|unbaptized]] and the [[virtuous pagan]]s, who, although not sinful, did not accept Christ. 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 the faith that you embrace")<ref>''Inferno'', Canto IV, line 36, Mandelbaum translation.</ref> they lacked the hope for something greater than rational minds can conceive. Limbo includes green fields and a castle with seven gates to represent the seven virtues. The castle is the dwelling place of the wisest men of antiquity, including [[Virgil]] himself, as well as the Persian polymath [[Avicenna]]. In the castle Dante meets the poets [[Homer]], [[Horace]], [[Ovid]], and [[Lucan]]; the [[Amazons|Amazon]] queen [[Penthesilea]]; the mathematician [[Euclid]]; the scientist [[Pedanius Dioscorides]]; the statesman [[Cicero]]; the first doctor [[Hippocrates]]; the philosophers [[Socrates]], [[Plato]], [[Aristotle]], and [[Averroes]]; the historical figures [[Lucretia]], [[Lucius Junius Brutus]], and [[Julius Caesar]] in his role as [[Ancient Rome|Roman]] general ("in his armor, falcon-eyed");<ref>''Inferno'', Canto IV, line 123, Mandelbaum translation.</ref> mythological characters [[Hector]], [[Electra]], [[Camilla (mythology)|Camilla]], [[Latinus]], and [[Orpheus]]; and many others. Interestingly, he also sees [[Saladin]] in Limbo (Canto IV). Dante implies that all virtuous non-Christians find themselves here, although he later encounters two ([[Cato the Younger|Cato of Utica]] and [[Statius]]) in [[Purgatorio|Purgatory]] and two ([[Trajan]] and [[Ripheus]]) in [[Paradiso (Dante)|Heaven]].

Beyond the first circle, all of those condemned for active, deliberately willed sin are judged to one of the lower eight circles by the serpentine [[Minos]]. Minos initially hinders the poets' passage, until rebuked by Virgil. Minos sentences each soul 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 (philosophy)|incontinence]], [[violence]], and [[fraud]]. 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.

===Second Circle (Lust)===
[[File:Gianciotto Discovers Paolo and Francesca Jean Auguste Dominique Ingres.jpg|upright|thumb|''Gianciotto Discovers Paolo and Francesca'' by [[Jean Auguste Dominique Ingres]]]]
In the second circle of Hell are those overcome by [[lust]]. Dante condemns these "carnal malefactors"<ref>''Inferno'', Canto V, lines 38–39, Longfellow translation.</ref> for letting their appetites sway their reason. They are the first ones to be truly punished in Hell. These souls are blown back and forth by the terrible winds of a violent storm, without rest. This symbolizes the power of lust to blow one about needlessly and aimlessly.

In this circle, Dante sees [[Semiramis]], [[Dido (Queen of Carthage)|Dido]], [[Cleopatra]], [[Helen of Troy]], [[Achilles]], [[Paris (mythology)|Paris]], [[Tristan]], and many others who were overcome by sexual love during their life. Dante is told by [[Francesca da Rimini]] how she and her husband's brother [[Paolo Malatesta]] committed adultery, but then died a violent death, in the name of Love, at the hands of her husband, [[Giovanni Malatesta|Giovanni (Gianciotto)]]. Francesca reports that their act of adultery was triggered by reading the adulterous story of [[Lancelot]] and [[Guinevere]] (an episode sculpted by [[Auguste Rodin]] in ''[[The Kiss (Rodin sculpture)|The Kiss]]''). Nevertheless, she predicts that her husband will be punished for his [[fratricide]] in Caïna, within the ninth circle (Canto V).

The English poet [[John Keats]], in his sonnet "On a Dream," imagines what Dante does not give us, the point of view of Paolo:
<blockquote>
... But to that second circle of sad hell,<br>
Where ‘mid the gust, the whirlwind, and the flaw<br>
Of rain and hail-stones, lovers need not tell<br>
Their sorrows. Pale were the sweet lips I saw,<br>
Pale were the lips I kiss’d, and fair the form<br>
I floated with, about that melancholy storm.<ref>[[John Keats]], ''[http://ebooks.adelaide.edu.au/k/keats/john/poems/on-a-dream.html On a Dream]''.</ref>
</blockquote>

===Third Circle (Gluttony)===
[[File:Stradano Inferno Canto 06.jpg|left|thumb|The third circle, illustrated by [[Stradanus]]]]
[[File:Cerbere.jpg|thumb|right|[[Cerberus]] as illustrated by [[Gustave Doré]]]]
The "great worm" [[Cerberus]] guards the [[Gluttony|gluttons]], who are forced to lie in a vile slush produced by ceaseless foul, icy rain (Virgil obtains safe passage past the monster by filling its three mouths with mud). In her notes on this circle, [[Dorothy L. Sayers]] writes that "the surrender to sin which began with mutual indulgence leads by an imperceptible degradation to solitary self-indulgence."<ref name="DLS6">[[Dorothy L. Sayers]], ''Hell'', notes on Canto VI.</ref> The gluttons lie here sightless and heedless of their neighbors, symbolizing the cold, selfish, and empty sensuality of their lives.<ref name="DLS6"/> Just as lust has revealed its true nature in the winds of the previous circle, here the slush reveals the true nature of sensuality – which includes not only overindulgence in food and drink, but also other kinds of addiction.<ref>[[John Ciardi]], ''Inferno'', introduction, p. xi.</ref>

In this circle, Dante converses with a Florentine contemporary identified as [[Ciacco]], which means "hog."<ref name="WF51">Wallace Fowlie, ''A Reading of Dante's Inferno'', University Of Chicago Press, 1981, pp. 51–52.</ref> A character with the same nickname later appears in ''[[The Decameron]]'' of [[Giovanni Boccaccio]].<ref>{{cite web|url=http://www.stg.brown.edu/projects/decameron/engDecShowText.php?myID=nov0908 |title=Giovanni Boccaccio, '&#39;The Decameron'&#39;, Ninth Day, Novel VIII |publisher=Stg.brown.edu |date= |accessdate=2013-03-22}}</ref> Ciacco speaks to Dante regarding strife in Florence between the "White" and "Black" [[Guelphs and Ghibellines|Guelphs]]. In one of a number of [[prophecy|prophecies]] in the poem, Ciacco "predicts" the expulsion of the White party, to which Dante belonged, and which led to Dante's own [[Dante Alighieri#Exile and death|exile]]. This event occurred in 1302, after the date in which the poem is set, but before the poem was written<ref name="WF51"/> (Canto VI).

===Fourth Circle (Greed)===
[[File:Gustave Doré - Dante Alighieri - Inferno - Plate 22 (Canto VII - Hoarders and Wasters).jpg|thumb|In [[Gustave Doré]]'s illustrations for the fourth circle, the weights are huge money bags]]
Those whose attitude toward material goods deviated from the appropriate [[Golden mean (philosophy)|mean]] are punished in the fourth circle. They include the [[Avarice|avaricious]] or miserly (including many "clergymen, and popes and cardinals"),<ref>''Inferno'', Canto VII, line 47, Mandelbaum translation.</ref> who hoarded possessions, and the [[spendthrift|prodigal]], who [[:en:wiktionary|squander]]ed them. The two groups are guarded by a figure Dante names as ''Pluto'', either [[Pluto (mythology)|Pluto]] the classical ruler of the underworld or [[Plutus]] the Greek deity of wealth<ref>Mandelbaum, note to his translation, p. 357 of the Bantam Dell edition, 2004, says that Dante may simply be preserving an ancient conflation of the two deities; [[Peter Bondanella]] in his note to the translation of [[Henry Wadsworth Longfellow]], ''The Inferno: Dante Alighieri'' (Barnes & Noble Classics, 2003), pp. 202–203, thinks Plutus is meant, since Pluto is usually identified with Dis, and Dis is a distinct figure in the fifth circle.</ref> (who uses the cryptic phrase ''[[Papé Satàn, papé Satàn aleppe]]''), but Virgil protects Dante from him. The two groups [[jousting|joust]], using as weapons great weights that they push with their chests:
<blockquote>
… I saw multitudes<br>
to every side of me; their howls were loud<br>
while, wheeling weights, they used their chests to push.<br>
They struck against each other; at that point,<br>
each turned around and, wheeling back those weights,<br>
cried out: Why do you hoard? Why do you squander?<ref>''Inferno'', Canto VII, lines 25–30, Mandelbaum translation.</ref>
</blockquote>
The contrast between these two groups leads Virgil to discourse on the nature of [[Rota Fortunae|Fortune]], who raises nations to greatness and later plunges them into poverty, as she shifts "those empty goods from nation unto nation, clan to clan."<ref>''Inferno'', Canto VII, lines 79–80, Mandelbaum translation.</ref> This speech fills what would otherwise be a gap in the poem, since both groups are so absorbed in their activity that Virgil tells Dante that it would be pointless to try to speak to them – indeed, they have lost their individuality and been rendered "unrecognizable"<ref>''Inferno'', Canto VII, lines 54, Mandelbaum translation.</ref> (Canto VII).

===Fifth Circle (Anger)===
[[File:Stradano Inferno Canto 08.jpg|left|thumb|The fifth circle, illustrated by [[Stradanus]]]]
[[File:Stradano Inferno Map Lower.jpg|thumb|right|Lower Hell, inside the walls of [[Dis (Divine Comedy)|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.]]
In the swampy waters of the river [[Styx (mythology)|Styx]], the [[wrath]]ful 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."<ref>Dorothy L. Sayers, ''Hell'', notes on Canto VII.</ref> [[Phlegyas]] reluctantly transports Dante and Virgil across the Styx in his [[skiff]]. On the way they are accosted by [[Filippo Argenti]], a [[Guelphs and Ghibellines|Black Guelph]] from a prominent family. When Dante was forced to leave Florence, Argenti took all his property. When Dante responds "In weeping and in grieving, accursed spirit, may you long remain,"<ref>''Inferno'', Canto VIII, lines 37–38, Mandelbaum translation.</ref> 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<ref name="DLS8">[[Dorothy L. Sayers]], ''Hell'', notes on Canto VIII.</ref> (Cantos VII and VIII). Just as Argenti seized Dante's property, he himself is "seized" by all the other wrathful souls.

The lower parts of Hell are contained within the walls of the city of [[Dis (Divine Comedy)|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 angel]]s. Virgil is unable to convince them to let Dante and him enter, and Dante is threatened by the [[Erinyes|Furies]] (consisting of [[Alecto]], [[Megaera]], and [[Tisiphone]]) and [[Medusa]]. An [[angel]] sent from Heaven secures entry for the poets, opening the gate by touching it with a wand, and rebukes those who opposed Dante. Allegorically, this reveals the fact that the poem is beginning to deal with sins that [[philosophy]] and [[humanism]] cannot fully understand. Virgil also mentions to Dante how [[Erichtho]] sent him down to the lowest circle of Hell to bring back a spirit from there (Cantos VIII and IX).<ref name="DLS8"/>

===Sixth Circle (Heresy)===
In the sixth circle, [[Christian heresy|Heretics]], such as [[Epicureanism|Epicureans]] (who say "the soul dies with the body")<ref>''Inferno'', Canto X, line 15, Mandelbaum translation.</ref> are trapped in flaming tombs. Dante holds discourse with a pair of Epicurian Florentines in one of the tombs: [[Farinata degli Uberti]], a [[Guelphs and Ghibellines|Ghibelline]] (posthumously condemned for heresy in 1283); and [[Cavalcante de' Cavalcanti]], a [[Guelphs and Ghibellines|Guelph]] who was the father of Dante's friend and fellow poet, [[Guido Cavalcanti]]. The political affiliation of these two men allows for a further discussion of Florentine politics (Canto X). Also seen here are [[Epicurus]], [[Frederick II, Holy Roman Emperor|Emperor Frederick II]], and [[Pope Anastasius II]] – although some modern scholars hold that Dante erred in the verse mentioning Anastasius ("Anastasio papa guardo,
lo qual trasse Fotin de la via dritta"), confusing the pope with the Byzantine emperor of the time, [[Anastasius I Dicorus|Anastasius I]].<ref name=McBrien>{{cite book|author=Richard P. McBrien|title=Lives of the Popes: The Pontiffs from St. Peter to John Paul II|url=http://books.google.com/books?id=M3P-nITg7BQC&pg=PA82|accessdate=8 March 2013|year=1997|publisher=HarperCollins|isbn=978-0-06-065304-0|pages=82–83}}</ref><ref name=AlighieriMusa>{{cite book|first1=Dante |last1=Alighieri|others=Translated by Mark Musa|title=Dante's Inferno|url=http://books.google.com/books?id=TPkqYo-6QwkC&pg=PA92|accessdate=8 March 2013|year=1995|publisher=Indiana University Press|isbn=978-0-253-20930-6}}</ref><ref>{{cite journal|last=Hudson-Williams|first=T.|title=Dante and the Classics|journal=Greece & Rome|year=1951|volume=20|issue=58|pages=38–42|quote=Dante is not free from error in his allocation of sinners; he consigned Pope Anastasius II to the burning cauldrons of the Heretics because he mistook him for the emperor of the same name|doi=10.1017/s0017383500011128}}</ref><ref name="Zimmerman2003">{{cite book|author=Seth Zimmerman|title=The Inferno of Dante Alighieri|url=http://books.google.com/books?id=O--hbH-2krIC&pg=PA75|accessdate=8 March 2013|year=2003|publisher=iUniverse|isbn=978-1-4697-2448-5}}</ref>

In response to a question from Dante about the "prophecy" he has received, Farinata explains that what the souls in Hell [[Theory of knowledge|know]] of life on earth comes from seeing the future, not from any observation of the present. Consequently, when "the portal of the future has been shut,"<ref>''Inferno'', Canto X, lines 103–108, Mandelbaum translation.</ref> it will no longer be possible for them to know anything.

Pausing for a moment before the steep descent to the foul-smelling seventh circle, Virgil explains the geography and rationale of Lower Hell, in which violent and malicious sins are punished. In this explanation, he refers to the ''[[Nicomachean Ethics]]'' and the ''[[Physics (Aristotle)|Physics]]'' of [[Aristotle]] (Canto XI). In particular, he asserts that there are only two legitimate sources of wealth: natural resources ("nature") and human activity ("art"). [[Usury]], to be punished in the next circle, is therefore an offence against both:<ref>Dorothy L. Sayers, ''Hell'', notes on Canto XI.</ref>
<blockquote>
From these two, art and nature, it is fitting,<br>
if you recall how [[Book of Genesis|Genesis]] begins,<br>
for men to make their way, to gain their living;<br>
and since the usurer prefers another<br>
pathway, he scorns both nature in herself<br>
and art her follower; his hope is elsewhere.<ref>''Inferno'', Canto XI, lines 106–111, Mandelbaum translation.</ref>
</blockquote>

===Seventh Circle (Violence)===
The seventh circle houses the violent. Its entry is guarded by the [[Minotaur]] and it is divided into three rings:

* '''Outer ring''': This ring houses the violent against people and property. Sinners are immersed in [[Phlegethon]], a river of boiling blood and fire, to a level commensurate with their sins: [[Dionysius I of Syracuse]], [[Guy de Montfort, Count of Nola|Guy de Montfort]], [[Obizzo II d'Este, Marquis of Ferrara|Obizzo d'Este]], [[Ezzelino III da Romano]], Rinier da Corneto, and Rinier Pazzo are also seen in the Phlegethon, as well as references to [[Attila|Attila the Hun]]. The [[Centaur]]s, commanded by [[Chiron]] and [[Pholus (mythology)|Pholus]], patrol the ring, shooting arrows into any sinners who emerge higher out of the river than each is allowed. The centaur [[Nessus (mythology)|Nessus]] guides the poets along Phlegethon and across a ford in the widest, shallowest stretch of the river (Canto XII). This passage may have been influenced by the early medieval ''[[Visio Karoli Grossi]]''.<ref>The punishment of immersion was not typically ascribed in Dante's age to the violent, but the ''Visio'' attaches it to those who ''facere praelia et homicidia et rapinas pro cupiditate terrena'' ("make battle and murder and rapine because of worldly cupidity"). Theodore Silverstein (1936), "Inferno, XII, 100–126, and the ''Visio Karoli Crassi''," ''[[Modern Language Notes]]'', '''51''':7, 449–452, and Theodore Silverstein (1939), "The Throne of the Emperor Henry in Dante's Paradise and the Mediaeval Conception of Christian Kingship," ''[[Harvard Theological Review]]'', '''32''':2, 115–129, suggests that Dante's interest in contemporary politics would have attracted him to a piece like the ''Visio''. Its popularity assures that Dante would have had access to it. [[Jacques Le Goff]], [[Arthur Goldhammer|Goldhammer, Arthur]], tr. (1986), ''The Birth of Purgatory'' (Chicago: University of Chicago Press, ISBN 0-226-47083-0), states definitively that ("we know [that]") Dante read it.</ref><p/>[[File:Torre dei gianfigliazzi, stemma gianfigliazzi 00.JPG|thumb|upright|The [[Catello di Rosso Gianfigliazzi|Gianfigliazzi]] family was identified by a [[heraldic device]] of a lion (blue on yellow background)]]
* '''Middle ring''': In this ring are [[suicide]]s and [[profligate]]s. The suicides – the violent against self – are transformed into gnarled thorny bushes and trees and then fed upon by [[Harpy|Harpies]]; the Harpies, and the characteristics of the bushes, are based on Book 3 of the ''Aeneid''. Dante breaks a twig off one of the bushes and from the broken, bleeding branch hears the tale of [[Pietro della Vigna|Pietro della Vigne]], who committed suicide after falling out of favour with [[Frederick II, Holy Roman Emperor|Emperor Frederick II]] (his presence here, rather than in the ninth circle, indicates that Dante believes that the accusations made against him were false).<ref>Dorothy L. Sayers, ''Hell'', notes on Canto XIII.</ref> Also here are Lano da Siena and Jacopo da Sant' Andrea. The trees are a metaphor for the state of mind in which suicide is committed.<ref>Wallace Fowlie, ''A Reading of Dante's Inferno'', University Of Chicago Press, 1981, p. 224.</ref> Dante learns that these suicides, unique among the dead, will not be corporally resurrected after the final judgement since they gave away their bodies through suicide; instead they will maintain their bushy form, with their own corpses hanging from the thorny limbs. The other residents of this ring are the [[profligate]]s, who destroyed their lives by destroying the means by which life is sustained – i.e., money and property. They are perpetually chased and mauled by ferocious dogs. The destruction wrought upon the wood by the profligates' flight and punishment as they crash through the undergrowth causes further suffering to the suicides, who cannot move out of the way (Canto XIII).
* '''Inner ring''': Here are the violent against God ([[Blasphemy|blasphemers]]) and the violent against nature ([[Sodomy|sodomites]] and, as explained in the sixth circle, [[Usury|usurers]]). All reside in a desert of flaming sand with fiery flakes raining from the sky, a fate similar to [[Sodom and Gomorrah]]. The blasphemers lie on the sand, the usurers sit, and the sodomites wander about in groups. Dante sees the classical warrior [[Capaneus]] there, who for blasphemy against [[Zeus]] was struck down with a thunderbolt during the [[Seven Against Thebes|Siege of Thebes]]. 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 ("you taught me how man makes himself eternal; / and while I live, my gratitude for that / must always be apparent in my words"),<ref>''Inferno'', Canto XV, lines 85–87, Mandelbaum translation.</ref> thus refuting suggestions that Dante only placed his enemies in Hell.<ref>Dorothy L. Sayers, ''Hell'', notes on Canto XV.</ref> The other sodomite is [[Iacopo Rusticucci]], a politician, who blames his wife for his fate. Those punished here for usury include the Florentines [[Catello di Rosso Gianfigliazzi]], [[Guido Guerra]], [[Ciappo Ubriachi]], and [[Giovanni di Buiamonte]] and the Paduan [[Reginaldo degli Scrovegni]] (who predicts that his fellow Paduan [[Vitaliano di Iacopo Vitaliani]] will join him here). They are identified not primarily by name but by [[heraldic device]]s emblazoned on the purses around their necks, purses that "their eyes seemed to feast upon"<ref>''Inferno'', Canto XVII, line 57, Mandelbaum translation.</ref> (Cantos XIV through XVII).

==={{anchor|Malebolge}}Eighth Circle (Fraud)===
[[File:Geryon.jpg|thumb|A [[Gustave Doré]] wood engraving of [[Geryon]]]]
[[File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg|thumb|Illustration by [[Sandro Botticelli]]: Dante and Virgil visit the first two ''Bolgie'' of the eighth circle]]
[[File:Jason and Medea - John William Waterhouse.jpg|thumb|upright|''Jason and Medea'', by [[John William Waterhouse]] (1907)]]
[[File:Gustave Dore Inferno Canto 21.jpg|thumb|Dante's guide rebuffs [[Malacoda]] and his fiends between ''Bolgie'' 5 and 6, Canto 21]]
[[File:Gustave Dore Inferno25.jpg|thumb|upright|Dante climbs the flinty steps in ''Bolgia'' 7, Canto 26]]

The last two circles of Hell punish sins that involve conscious fraud or treachery. These circles can be reached only by descending a vast cliff, which Dante and Virgil do on the back of [[Geryon]], a winged monster traditionally represented as having three heads or three conjoined bodies;<ref name="DLS17">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XVII.</ref> however, Dante describes Geryon as having three mixed natures: human, bestial, and reptilian.<ref name="DLS17"/> Dante's Geryon is an image of fraud, having the face of an honest man on the body of a beautifully colored [[wyvern]], with the furry paws of a [[lion]] and a poisonous sting in the pointy scorpion-like tail<ref>Wallace Fowlie, ''A Reading of Dante's Inferno'', University Of Chicago Press, 1981, p. 117.</ref> (Canto XVII).

The fraudulent – those guilty of deliberate, knowing evil – are located in a circle named [[Malebolge]] ("Evil Pockets"). This circle is divided into ten ''Bolgie'', or ditches of stone, with bridges spanning the ditches:

* '''Bolgia 1''': [[Pimp|Panderers]] and [[Seduction|seducers]] march in separate lines in opposite directions, whipped by demons (here Dante makes reference to a recent traffic rule developed for the [[Jubilee (Christian)#The first Christian jubilee|Jubilee]] year of 1300 in Rome: keep to the right).<ref name="DLS18">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XVIII.</ref> Just as the panderers and seducers used the passions of others to drive them to do their bidding, they are themselves driven by whip-wielding demons to march for all eternity.<ref name="DLS18"/> In the group of panderers, the poets notice Venedico Caccianemico, who sold his own sister Ghisola to the [[Obizzo II d'Este, Marquis of Ferrara|Marchese d'Este]]. In the group of seducers, Virgil points out [[Jason]], who gained the help of [[Medea]] by seducing and marrying her only to later desert her for [[Creusa]].<ref name="DLS18"/> Jason also seduced [[Hypsipyle]], but "abandoned her, alone and pregnant"<ref>''Inferno'', Canto XVIII, line 94, Mandelbaum translation.</ref> (Canto XVIII).
* '''Bolgia 2''': [[Flattery|Flatterers]] also exploited other people, this time using language. They are steeped in human excrement, which represents the words they produced. Alessio Interminei of Lucca and [[Thaïs]] are seen here.<ref name="DLS18"/> (Canto XVIII).
* '''Bolgia 3''': Dante now forcefully expresses<ref>''Inferno'', Canto XIX, lines 2–6, Mandelbaum translation: "Rapacious ones, who take the things of God, / that ought to be the brides of Righteousness, / and make them fornicate for gold and silver! / The time has come to let the trumpet sound / for you; ..."</ref> his condemnation of those who committed [[simony]]. Those who committed simony are placed head-first in holes in the rock (resembling [[baptismal font]]s), with flames burning on the soles of their feet. One of the simoniacs, [[Pope Nicholas III]], denounces two of his successors, [[Pope Boniface VIII]] and [[Pope Clement V]], for the same offence. [[Simon Magus]], who offered gold in exchange for holy power to [[Saint Peter]], is also mentioned here, although he does not appear. The [[simile]] of baptismal fonts gives Dante an incidental opportunity to clear his name of an accusation of malicious damage to the font in the church of [[San Giovanni dei Fiorentini]]<ref name="DLS19">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XIX.</ref> (Canto XIX).
* '''Bolgia 4''': [[Magician (paranormal)|Sorcerers]], [[Astrology|astrologers]], and [[false prophet]]s here have their heads twisted around backward on their bodies, so that they "found it necessary to walk backward, / because they could not see ahead of them."<ref>''Inferno'', Canto XX, lines 14–15, Mandelbaum translation.</ref> While referring primarily to attempts to see into the future by forbidden means, this also symbolises the twisted nature of magic in general.<ref name="DLS20">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XX.</ref> In this ''Bolgia'', Dante sees [[Amphiaraus]], [[Tiresias]], whose double transformation is also referenced, and his daughter [[Manto (mythology)|Manto]], [[Calchas]], Aruns, [[Michael Scot]], Alberto de Casalodi, [[Guido Bonatti]] and Asdente (Canto XX).
* '''Bolgia 5''': Corrupt politicians ([[Simony#Secular analogue|barrators]]) are immersed in a lake of boiling [[tar|pitch]], which represents the sticky fingers and dark secrets of their corrupt deals.<ref name="DLS21">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XXI.</ref> The barrators are the political analogue of the simoniacs, and Dante devotes several cantos to them. They are guarded by devils called the [[Malebranche (Divine Comedy)|Malebranche]] ("Evil Claws"), who provide some savage and satirical [[black comedy]] – in the last line of Canto XXI, the sign for their march is provided by a fart: "and he had made a trumpet of his ass."<ref>{{cite web|url=http://www.thenervousbreakdown.com/vpatterson/2011/11/great-farts-in-literature/|title=Great Farts in Literature|last=Patterson|first=Victoria|work=The Nervous Breakdown|accessdate=7 March 2012}}</ref> The leader of the Malebranche, [[Malacoda]] ("Evil Tail"), assigns a troop to escort Virgil and Dante safely 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. The promise of safe conduct the poets received from the demons turns out to have limited value (and there is no "next bridge"),<ref name="DLS23">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XXIII.</ref> so the poets are forced to scramble down into the sixth ''Bolgia'' (Cantos XXI through XXIII).
* '''Bolgia 6''': In the sixth ''Bolgia'', the poets find the [[Hypocrisy|hypocrites]] listlessly walking along wearing gilded lead cloaks, which represent the falsity behind the surface appearance of their actions – falsity that weighs them down and makes spiritual progress impossible for them.<ref name="DLS23"/> Dante speaks with Catalano and [[Loderingo degli Andalò|Loderingo]], two members of the [[Order of the Blessed Virgin Mary|Jovial Friars]], an order that had acquired a reputation for not living up to its vows<ref name="DLS23"/> and was eventually suppressed by [[Pope Sixtus V]]. [[Caiaphas]], the high priest responsible for ordering [[Jesus]] crucified, is also seen here, crucified to the ground and trampled (Canto XXIII).
* '''Bolgia 7''': Two cantos are devoted to the [[Theft|thieves]]. They are guarded by the [[centaur]] [[Cacus]], who has a fire-breathing [[dragon]] on his shoulders and [[snake]]s covering his equine back (in Roman mythology, Cacus was not a centaur but a monstrous fire-breathing giant slain by [[Heracles]]). The thieves are pursued and bitten by [[snake]]s and [[lizard]]s. The full horror of the thieves' punishment is revealed gradually: just as they stole other people's substance in life, their very identity becomes subject to theft here,<ref name="DLS24">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XXIV.</ref> and the snake bites make them undergo various transformations. [[Vanni Fucci]] is turned to ashes and resurrected. Agnello is blended with the six-legged reptile that is [[List of cultural references in Divine Comedy#Cianfa|Cianfa]]. Buoso exchanges shapes with the four-legged Francesco: "The soul that had become an animal, / now hissing, hurried off along the valley; / the other one, behind him, speaks and spits"<ref>''Inferno'', Canto XXV, lines 136–138, Mandelbaum translation.</ref> (Cantos XXIV and XXV).
* '''Bolgia 8''': Two further cantos are devoted to fraudulent advisers or evil counsellors, who are concealed within individual flames. These are not people who gave false advice, but people who used their position to advise others to engage in fraud.<ref name="DLS26">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XXVI.</ref> [[Odysseus|Ulysses]] and [[Diomedes]] are condemned here for the deception of the [[Trojan Horse]]. Ulysses tells the tale of his fatal final voyage (Dante's invention) where he left his home and family to sail to the end of the Earth only to have his ship founder near Mount Purgatory; Ulysses also mentions of his encounter with [[Circe]], stating that she "beguiled him." [[Guido I da Montefeltro|Guido da Montefeltro]] recounts how he advised [[Pope Boniface VIII]] to capture the fortress of [[Palestrina]], by offering the [[Colonna family]] inside it a false amnesty and then razing it to the ground after they surrendered. Guido describes how [[Francis of Assisi|St. Francis]] came to take his soul to Heaven because of Guido's subsequent joining of the [[Franciscan]] order, only to have a demon assert prior claim. Although Boniface had [[Absolution|absolved]] Guido in advance for his evil advice, Dante points out the invalidity of that, since absolution requires [[contrition]], and a man cannot be contrite for a sin at the same time that he is intending to commit it<ref name="DLS27">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XXVII.</ref> (Cantos XXVI and XXVII).
* '''Bolgia 9''': In the ninth ''Bolgia'', a sword-wielding demon hacks at the Sowers of Discord, dividing parts of their bodies as in life they divided others.<ref name="DLS28">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XXVIII.</ref> As they make their rounds the wounds heal, only to have the demon tear apart their bodies again. Dante encounters [[Muhammad]], with his entrails hanging out, who tells him to warn the schismatic and heretic [[Fra Dolcino]]. Dante describes Muhammad as a schismatic,<ref name="DLS28"/><ref>Wallace Fowlie, ''A Reading of Dante's Inferno'', University Of Chicago Press, 1981, p. 178.</ref> apparently viewing [[Islam]] as an offshoot from [[Christianity]], and similarly Dante seems to condemn [[Ali]] for schism between [[Sunni Islam|Sunni]] and [[Shia Islam|Shiite]]. In this ''Bolgia'', Dante also encounters [[Bertran de Born]], who carries around his severed head like a lantern (a literal representation of allowing himself to detach his intelligence from himself), as a punishment for (Dante believes) fomenting the rebellion of [[Henry the Young King]] against his father [[Henry II of England|Henry II]] (Cantos XXVIII and XXIX).
* '''Bolgia 10''': In the final ''Bolgia'', various sorts of falsifiers ([[Alchemy|alchemists]], [[counterfeit]]ers, [[Perjury|perjurers]], and [[impostor]]s) – who are a "disease" on society – are themselves afflicted with different types of [[disease]]s.<ref name="DLS29">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XXIX.</ref> [[Potiphar]]'s wife is briefly mentioned for her false accusation of [[Joseph (son of Jacob)|Joseph]]. The Achaean spy [[Sinon]] suffers from a burning fever for tricking the Trojans into taking the [[Trojan Horse]] into their city; Sinon is here rather than in ''Bolgia'' 8 because his advice was false as well as evil. [[Gianni Schicchi]] is a 'rabid goblin' for forging the will of Dante's relative Buoso Donati. [[Myrrha]] suffers from madness for disguising herself to commit incest with her father King [[Theias]].

In Sayers's notes on her translation, she 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"<ref name="DLS29"/> so that every aspect of social interaction has been progressively destroyed (Cantos XXIX and XXX).

===Ninth Circle (Treachery)===
The ninth and last circle is ringed by classical and Biblical [[giant (mythology)|giants]], who perhaps symbolize pride and other spiritual flaws lying behind acts of [[Betrayal|treachery]].<ref name="DLS31">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XXXI.</ref> The giants are standing on a ledge above the ninth circle of Hell,<ref name="DLS32">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XXXII.</ref> so that from the Malebolge they are visible from the waist up. They include [[Nimrod]], [[Aloadae|Ephialtes]] (who with his brother Otus tried to storm Olympus during the [[Gigantomachy]]), [[Hekatonkheires|Briareus]], [[Tityos]], and [[Typhon]]. The giant [[Antaeus]] (being the only giant unbound with chains) lowers Dante and Virgil into the pit that forms the ninth circle of Hell (Canto XXXI).

The traitors are distinguished from the "merely" fraudulent in that their acts involve betraying a special relationship of some kind. There are four concentric zones (or "rounds") of traitors. These rounds correspond, in order of seriousness, to betrayal of family ties, betrayal of community ties, betrayal of guests, and betrayal of [[liege lord]]s. In contrast to the popular image of Hell as fiery, the traitors are frozen in a lake of ice known as [[Cocytus]], with each group encased in ice to progressively greater depths.

* '''Round 1''' is named Caïna, after [[Cain and Abel|Cain]], who killed his own brother. Traitors to kindred are here immersed in the ice up to their chins – "the place / where shame can show itself"<ref>''Inferno'', Canto XXXII, lines 34–35, Mandelbaum translation.</ref> [[Mordred]], who attacked his uncle/father [[King Arthur]], is one of the traitors here: "him who, at one blow, had chest and shadow / shattered by Arthur's hand"<ref>''Inferno'', Canto XXXII, lines 61–62, Mandelbaum translation.</ref> (Canto XXXII).
* '''Round 2''' is named Antenora, after [[Antenor (mythology)|Antenor]] of Troy, who according to medieval tradition, betrayed his city to the Greeks. Traitors to political entities, such as parties, cities, or countries, are located here and imprisoned in the same way as the traitors in Caïna. [[Count]] [[Ugolino della Gherardesca|Ugolino]] pauses from gnawing on the head of his former partner-in-crime Archbishop [[Ruggieri degli Ubaldini]] to describe how Ruggieri turned against him after an accidental death of Ruggieri's illegitimate son during a riot and had him imprisoned along with his sons and grandsons, condemning them to death by starvation. A number of correspondences, such as allusions to the same passage of the ''[[Aeneid]]'', link this passage to the story of [[Paolo Malatesta|Paolo]] and [[Francesca da Rimini|Francesca]] in the second circle,<ref name="DLS33">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XXXIII.</ref> indicating that this icy hell of betrayal is the final result of consent to sin<ref name="DLS33"/> (Cantos XXXII and XXXIII).
* '''Round 3''' is named Ptolomaea, probably after [[Ptolemy (son of Abubus)|Ptolemy]], son of [[Abubus]], who invited [[Simon Thassi|Simon Maccabaeus]] and his sons to a banquet and then killed them.<ref name="DLS33"/> Traitors to their guests are punished here, lying supine in the ice, which covers them, except for their faces. They are punished more severely than the previous traitors, since the relationship to guests is an entirely voluntary one.<ref>Wallace Fowlie, ''A Reading of Dante's Inferno'', University Of Chicago Press, 1981, p. 209.</ref> [[Fra Alberigo]], who had armed soldiers kill his brother at a banquet, explains that sometimes a soul falls here before [[Atropos]] cuts the thread of life. Their bodies on Earth are immediately possessed by a demon, so what seems to be a walking man has reached the stage of being incapable of repentance (Canto XXXIII).
* '''Round 4''' is named Judecca, after [[Judas Iscariot]], Biblical betrayer of Christ. Here are the traitors to their [[liege lord|lords]] and benefactors. All of the sinners punished within are completely encapsulated in ice, distorted in all conceivable positions. With no one to talk to here, Dante and Virgil quickly move on to the centre of Hell (Canto XXXIV).

In the very centre of Hell, condemned for committing the ultimate sin (personal treachery against God), is [[Satan]]. Satan is described as a giant, terrifying beast with three faces, one red, one black, and one a pale yellow:

<blockquote>
he had three faces: one in front bloodred;<br>
and then another two that, just above<br>
the midpoint of each shoulder, joined the first;<br>
and at the crown, all three were reattached;<br>
the right looked somewhat yellow, somewhat white;<br>
the left in its appearance was like those<br>
who come from where the Nile, descending, flows.<ref>''Inferno'', Canto XXXIV, lines 39–45, Mandelbaum translation.</ref>
</blockquote>

Satan is waist deep in ice, weeping tears from his six eyes, and beating his six wings as if trying to escape, although the icy wind that emanates only further ensures his imprisonment (as well as that of the others in the ring). Each face has a mouth that chews on a prominent traitor. [[Marcus Junius Brutus the Younger|Brutus]] and [[Gaius Cassius Longinus|Cassius]] are feet-first in the left and right mouths respectively, for their involvement 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.<ref name="DLS34">[[Dorothy L. Sayers]], ''Hell'', notes on Canto XXXIV.</ref> In the central, most vicious mouth is [[Judas Iscariot]], the namesake of Round 4 and the betrayer of [[Jesus]]. Judas is receiving the most horrifying torture of the three traitors: his head gnawed by Satan's mouth, and his back being forever skinned by Satan's claws. What is seen here is an inverted trinity: Satan is impotent, ignorant, and full of hate, in contrast to the [[Omnipotence|all-powerful]], [[omniscience|all-knowing]], and [[omnibenevolence|loving nature]] of God.<ref name="DLS34"/>

The two poets escape Hell by climbing down Satan's ragged fur. They pass through the centre of the earth (with a consequent change in the direction of [[gravity]], causing Dante to at first think they are returning to Hell). The pair emerge in the other hemisphere (described in the ''[[Purgatorio]]'') just before dawn on [[Easter Sunday]], beneath a sky studded with stars (Canto XXXIV).

<gallery widths="200px" heights="200px">
File:Gustave Doré - Dante Alighieri - Inferno - Plate 65 (Canto XXXI - The Titans).jpg|Titans and giants, including [[Aloadae|Ephialtes]] on the left, in Doré's illustrations
File:Gustave Dore Inferno32.jpg|Dante speaks to the traitors in the ice, Canto 32
File:Gustave Dore Inferno34.jpg|[[Satan]] is trapped in the frozen central zone in the Ninth Circle of Hell, Canto 34
</gallery>

==See also==
* [[Allegory in the Middle Ages]]
* [[Dante Alighieri and the Divine Comedy in popular culture]]
* [[Dante's Satan]]
* [[List of cultural references in The Divine Comedy]]

==Footnotes==
{{Reflist|30em}}

==External links==
{{Commons category|Dante's Inferno}}
{{wikisource|The Divine Comedy/Inferno}}

===Texts===
*[http://www.divinecomedy.org/ Dante's ''Divine Comedy''] presented by the [http://www.thegreatbooks.org/ Electronic Literature Foundation]. Multiple editions, with Italian and English facing page and interpolated versions.
*[http://dante.dartmouth.edu/ Dante Dartmouth Project]: Full text of more than 70 Italian, Latin, and English commentaries on the ''Commedia'', ranging in date from 1322 ([[Jacopo Alighieri|Iacopo Alighieri]]) to the 2000s (Robert Hollander)
*[http://www.worldofdante.org/ 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
*Audiobooks: Public domain recordings from LibriVox ([http://librivox.org/la-divina-commedia-by-dante-alighieri/ in Italian], [http://librivox.org/the-divine-comedy-by-dante-alighieri/ Longfellow translation]); [http://www.audiolibri.blogspot.com some additional recordings]

===Secondary materials===
*[http://www.dantesinfernoart.com/ A 72-piece art collection featured in "Dante's Hell Animated" and "Inferno by Dante" films.]
*[http://www.tsoules.com/Dante/Concordance/ On-line Concordance to the ''Divine Comedy'']
*[http://wikisummaries.org/Inferno Wikisummaries summary and analysis of "Inferno"]
*[http://danteworlds.laits.utexas.edu Danteworlds], multimedia presentation of the ''Divine Comedy'' for students by Guy Raffa of the University of Texas
*[http://www.matteostarri.com/dante/ 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
*{{In Our Time|Dante's Inferno|b00f05zj|Dante's_Inferno}}

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Revision as of 17:11, 23 October 2015

"Dante's Inferno" redirects here. For other uses, see Dante's Inferno (disambiguation).

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

Inferno (pronounced [imˈfɛrno]; Italian for "Hell") is the first part of Dante Alighieri's 14th-century epic poem Divine Comedy. It is followed by Purgatorio and Paradiso. It is an allegory telling of the journey of Dante through 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 toward God, with the Inferno describing the recognition and rejection of sin.[1] ₰£₪₪₪₮₮₮

  1. ^ Dorothy L. Sayers, Hell, notes on page 19.
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