The first circle of hell is depicted in Dante Alighieri's 14th-century poem Inferno , the first part of the Divine Comedy . Inferno tells the story of Dante's journey through a vision of hell ordered into nine circles corresponding to classifications of sin. The first circle is Limbo, the space reserved for those souls who died before baptism and for those who hail from non-Christian cultures. They live eternally in a castle set on a verdant landscape, but forever removed from heaven.
Dante's depiction of Limbo is influenced by contemporary scholastic teachings on two kinds of Limbo—the Limbo of Infants for the unbaptised and the Limbo of the Patriarchs for the virtuous Jews of the Old Testament; the addition of Islamic, Greek, and Roman historical figures to the poem is an invention of Dante's, which has received criticism both in his own time and from a modern perspective. Dante also uses his depiction of Limbo to discuss the Harrowing of Hell, using the motif to explore the concept of predestination.
Here, as mine ear could note, no plaint was heard
except of sighs, that made the eternal air
tremble, not caused by tortures, but from grief
felt by those multitudes, many and vast,
of men, women, and infants.
—Canto IV, lines 24–28 [1]
Inferno is the first section of Dante Alighieri's three-part poem Commedia , often known as the Divine Comedy. Written in the early 14th century, the work's three sections depict Dante being guided through the Christian concepts of hell (Inferno), purgatory ( Purgatorio ), and heaven ( Paradiso ). [2] Inferno depicts a vision of hell divided into nine concentric circles, each home to souls guilty of a particular class of sin. [3]
Led by his guide, the Roman poet Virgil, Dante enters the first circle of hell in Inferno's Canto IV. The first circle is Limbo, the resting place of souls who "never sinned" but whose "merit falls far short". [4] Here Dante meets the souls of the unbaptised, of virtuous pagans and those who lived before the time of Christ; Hellenistic and Roman figures including Homer, Horace, Hector, and Lucius Junius Brutus, as well as Islamic scholars and nobility such as Saladin, Avicenna, and Averroes. [5] Within Limbo is a great castle surrounded by seven walls; Dante passes through its seven gates to reach the verdant meadows where the first circle's souls dwell. [6]
The souls in Limbo are not punished directly, but are condemned to "suffer harm through living in desire"; [4] their punishment is to be left desirous of salvation. Upon hearing of this, Dante inquires of Virgil whether anyone has ever attained such salvation; Virgil recounts the Harrowing of Hell, the story of Jesus descending after his death to recover the souls of biblical figures who had foretold his coming, such as Abraham, David, and Jacob. [7] [8] Dante then begins to recount the names of scholars and philosophers he sees among the noble pagans, but is cut short by their numbers, and is pressed by Virgil to continue into the second circle. [9]
Dante's Limbo is modelled after the Ancient Greek concept of Elysium, the part of the Greek underworld reserved for those in classical mythology who had lived good lives. [10] Scholastic philosophy in Dante's time held two distinct theories of Limbo—the Limbo of Infants for the unbaptised and the Limbo of the Patriarchs for the virtuous Jews of the Old Testament; the latter of which has been equated to the biblical Bosom of Abraham. [11] Dante's depiction melds both of these notions of Limbo into one realm. [12] The placement of the unbaptised in hell dates back to Augustine of Hippo's 5th-century Enchiridion on Faith, Hope and Love , who believed that they would be punished for the original sin. By Dante's lifetime, Alexander of Hales had taught that they would not be tormented in hell, but would be excluded from heaven. [13] Dante makes specific mention of several figures already placed in hell in the writings of Thomas Aquinas—Greek philosophers Socrates and Plato, who here are likewise in hell but not among the ranks of the damned. [12]
Prominently discussed within the canto is the concept of the Harrowing of Hell, or the descent of Jesus Christ into Limbo to free the souls of the Patriarchs, prominent Jewish figures of the Old Testament. This event is not explicitly described in the bible, but had been confirmed as Catholic doctrine in the century before Dante's writing, first in the Fourth Council of the Lateran (1215) and again in the Second Council of Lyon (1274). [14] The Harrowing had been a popular motif in European drama and art during the Middle Ages, its imagery derived from the apocryphal 5th-century Gospel of Nicodemus. [15]
Dante's depiction of hell is one of order, unlike contemporary representations which, according to scholar Robin Kirkpatrick, were "pictured as chaos, violence and ugliness". [16] Kirkpatrick draws a contrast between Dante's poetry and the frescoes of Giotto in Padua's Scrovegni Chapel. Dante's orderly hell is a representation of the structured universe created by God, one which forces its sinners to use "intelligence and understanding" to contemplate their purpose. [17] The nine-fold subdivision of hell is influenced by the Ptolemaic model of cosmology, which similarly divided the universe into nine concentric spheres. [18]
Although Dante's views on sin are heavily influenced by Aristotle's Nicomachean Ethics , the first circle of hell, as an eternal home to the unbaptised and pagans, represents a uniquely Christian addition to Aristotle's classification of ethics, which Dante otherwise mirrors. [19] Scholar Wallace Fowlie also remarked upon Limbo being disconnected from the rest of Dante's hell, writing that "Dante the poet and Dante the man are in conflict here [...] he is content to draw pictures as best he can of a dignified scene". [20] Fowlie believed that the depiction of the first circle was Dante's attempt to "rescue [...] from ignominy" non-Christian figures who could not be placed in heaven by theology, including influential philosophers and poets who informed Dante's own work. [10] Dante's depiction of Limbo later informed Alexander Solzhenitsyn's 1968 novel In the First Circle ; Solzhenitsyn draws a parallel between the virtuous pagans and the inhabitants of the gulag system as both having committed no sin. [21]
Contemporary reaction to this treatment of pagan figures was not positive; 14th-century commentators on Dante such as Guido da Pisa and Francesco da Bruti were critical of it, and even Giovanni Boccaccio, a follower of Dante, was unwilling to defend it without caveats. [22] Modern interpretation of Dante's Limbo sees it as an examination of predestination; Amilcare A. Iannucci contrasts the specific mention of the Harrowing, which rescued only biblical figures from the first circle, to the "noble castle" left behind in Limbo, populated by figures from Greco-Roman antiquity who Dante believes "would certainly have been Christians" had they not predated Christianity. The effect of this contrasting imagery, Iannucci writes, is to turn the traditionally jubilant image of salvation associated with the Harrowing legend into one of pity and compassion for those denied it by predestination. [23] Dante's treatment of Islamic figures was discussed by Syrian academic Samar al-'Aṭṭār in the 2018 paper "Divided Mediterranean, Divided World: The Influence of Arabic on Medieval Italian Poetry", in which she drew attention to the paradoxical placement of Muslims within the Divine Comedy. Later in Inferno, the Islamic prophet Muhammad and his son-in-law Ali are depicted among the lowest bounds of hell, while Paradiso sees Christian participants in the largely unsuccessful Second Crusade against Islam placed in heaven. Despite this, Saladin, the commander who recaptured the Crusader States from Christendom, is depicted as a virtuous soul in Limbo, as is the philosopher Averroes, who had been denounced by Thomas Aquinas in the 13th century. Aṭṭār sees this as evidence that Dante "may have detested everything about Arabs and Muslims. But at the same time, he seems to have admired everything about them." [24]
The Divine Comedy is an Italian narrative poem by Dante Alighieri, begun c. 1308 and completed around 1321, shortly before the author's death. It is widely considered the pre-eminent work in Italian literature and one of the greatest works of Western literature. The poem's imaginative vision of the afterlife is representative of the medieval worldview as it existed in the Western Church by the 14th century. It helped establish the Tuscan language, in which it is written, as the standardized Italian language. It is divided into three parts: Inferno, Purgatorio, and Paradiso.
In Christian theology, the Harrowing of Hell is the period of time between the Crucifixion of Jesus and his resurrection. In triumphant descent, Christ brought salvation to the souls held captive there since the beginning of the world.
Purgatorio is the second part of Dante's Divine Comedy, following the Inferno and preceding the Paradiso. The poem was written in the early 14th century. It is an allegory telling of the climb of Dante up the Mount of Purgatory, guided by the Roman poet Virgil – except for the last four cantos, at which point Beatrice takes over as Dante's guide. Allegorically, Purgatorio represents the penitent Christian life. In describing the climb Dante discusses the nature of sin, examples of vice and virtue, as well as moral issues in politics and in the Church. The poem posits the theory that all sins arise from love – either perverted love directed towards others' harm, or deficient love, or the disordered or excessive love of good things.
In Dante Alighieri's Inferno, part of the Divine Comedy, Malebolge or Fraud is the eighth circle of Hell. It is a large, funnel-shaped cavern, itself divided into ten concentric circular trenches or ditches, each called a bolgia. Long causeway bridges run from the outer circumference of Malebolge to its center, pictured as spokes on a wheel. At the center of Malebolge is the ninth and final circle of hell, known as Cocytus.
In Christian theology, a heresiarch or arch-heretic is an originator of heretical doctrine or the founder of a sect that sustains such a doctrine.
L'Inferno is a 1911 Italian silent film, loosely adapted from Inferno, the first canticle of Dante Alighieri's Divine Comedy. L'Inferno took over three years to make, and was the first full-length Italian feature film.
In Dante's Inferno, contrapasso is the punishment of souls "by a process either resembling or contrasting with the sin itself." A similar process occurs in the Purgatorio.
Iacopo Rusticucci was a Guelph politician and accomplished orator who lived and worked in Florence, Italy in the 13th century. Rusticucci is realized historically primarily in relation to the Adimari family, who wielded much power and prestige in thirteenth-century Florence, and to whom it is thought Rusticucci was a close companion, representative, and perhaps lawyer. Despite his association with men born into high political and social rank, Rusticucci was not born into nobility, and nothing is known of his ancestors or predecessors. The exact dates of his birth and death are unknown.
The Divine Comedy has been a source of inspiration for artists, musicians, and authors since its appearance in the late 13th and early 14th centuries. Works are included here if they have been described by scholars as relating substantially in their structure or content to the Divine Comedy.
In Dante Alighieri's The Divine Comedy, the City of Dis encompasses the sixth through the ninth circles of Hell.
Castello di Rosso Gianfigliazzi was a Florentine nobleman who lived in the late 13th century around the time of Giotto and Dante. He is best known for being a wicked usurer according to Dante in the Divine Comedy. He practiced usury in France and was made a knight upon his return to Florence.
Giovanni di Buiamonte was a Florentine nobleman who lived in the late 13th century around the time of Giotto and Dante. He was highly esteemed in the Florence of his day as “the sovereign cavalier", and was chosen for many high offices.
Virtuous pagan is a concept in Christian theology that addressed the fate of the unlearned—the issue of nonbelievers who were never evangelized and consequently during their lifetime had no opportunity to recognize Christ, but nevertheless led virtuous lives, so that it seemed objectionable to consider them damned. Prominent examples of virtuous pagans are Heraclitus, Parmenides, Socrates, Plato, Aristotle, Cicero, Trajan, and Virgil.
The Wood of the Self-Murderers: The Harpies and the Suicides is a pencil, ink and watercolour on paper artwork by the English poet, painter and printmaker William Blake (1757–1827). It was completed between 1824 and 1827 and illustrates a passage from the Inferno of the Divine Comedy by Dante Alighieri (1265–1321).
Inferno is the first part of Italian writer Dante Alighieri's 14th-century narrative poem The Divine Comedy. It is followed by Purgatorio and Paradiso. The Inferno describes the journey of a fictionalised version of Dante himself through Hell, guided by the ancient Roman poet Virgil. In the poem, Hell is depicted as nine concentric circles of torment located within the Earth; it is the "realm [...] of those who have rejected spiritual values by yielding to bestial appetites or violence, or by perverting their human intellect to fraud or malice against their fellowmen". As an allegory, the Divine Comedy represents the journey of the soul toward God, with the Inferno describing the recognition and rejection of sin.
Paradiso is the third and final part of Dante's Divine Comedy, following the Inferno and the Purgatorio. It is an allegory telling of Dante's journey through Heaven, guided by Beatrice, who symbolises theology. In the poem, Paradise is depicted as a series of concentric spheres surrounding the Earth, consisting of the Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, the Primum Mobile and finally, the Empyrean. It was written in the early 14th century. Allegorically, the poem represents the soul's ascent to God.
Dante's Inferno: An Animated Epic is a 2010 adult animated dark fantasy film. Based on the Dante's Inferno video game that is itself loosely based on Dante's Inferno, Dante must travel through the circles of Hell and battle demons, creatures, monsters, and even Lucifer himself to save his beloved Beatrice. The film was released on February 9, 2010.
Dante's Hell Animated is a 2013 American animated short film produced and directed by Boris Acosta.
The second circle of hell is depicted in Dante Alighieri's 14th-century poem Inferno, the first part of the Divine Comedy. Inferno tells the story of Dante's journey through a vision of the Christian hell ordered into nine circles corresponding to classifications of sin; the second circle represents the sin of lust, where the lustful are punished by being buffeted within an endless tempest.
The third circle of hell is depicted in Dante Alighieri's Inferno, the first part of the 14th-century poem Divine Comedy. Inferno tells the story of Dante's journey through a vision of the Christian hell ordered into nine circles corresponding to classifications of sin; the third circle represents the sin of gluttony, where the souls of the gluttonous are punished in a realm of icy mud.