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.

This article is part of a series about

Dante's Divine Comedy

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Inferno (Italian for "Hell") is the first part of Dante Alighieri's 14th-century epic
poem Divine Comedy. It is followed byPurgatorio and Paradiso. It is
an allegory telling of the journey of Dante through Hell, guided by
the Roman poetVirgil. 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.[1]

Overview and vestibule of Hell[edit]

The poem starts on Maundy Thursday in the year 1300. 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 life expectancy of seventy
(Psalms 89:10, Vulgate). The poet finds himself lost in a dark wood in front of a
mountain, assailed by three beasts (a lion, a lonza [usually rendered as "leopard"
or "leopon"],[2]and a 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, 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 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
revenge, but rather as the fulfilment of a destiny freely chosen by each soul
during his or her life."[3]
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."[4]
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 orPontius 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 as maggots and other such
insects drink their blood and tears. This symbolizes the sting of
their conscience and the repugnance of sin. This can also be seen as a reflection
of the spiritual stagnation they lived in. 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.

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, 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. However,
the actual passage across the Acheron is undescribed since Dante faints and
does not wake up 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. 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
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.[5]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 nine circles of Hell[edit]

The Harrowing of Hell, in a 14th-century illuminated manuscript, the Petites Heures de Jean de

Berry

First Circle (Limbo)[edit]

In Limbo reside the unbaptized and the virtuous pagans, who, though 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")[6] 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 poetsHomer, Horace, Ovid, and Lucan;
the Amazon queen Penthesilea; the mathematician Euclid; the scientist Pedanius
Dioscorides; the statesman Cicero; the first doctor Hippocrates; the
philosophersSocrates, Plato, Aristotle, and Averroes; the historical
figuresLucretia, Lucius Junius Brutus, and Julius Caesar in his role
as Roman general ("in his armor, falcon-eyed");[7] mythological
characters Hector, Electra, 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 of Utica and Statius) in Purgatory and two (Trajan and Ripheus) in 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 wantonness, violence,
and fraud (which for many commentators are represented by the leopard, lion,
and she-wolf).[8] The sins of wantonness – 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)[edit]

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"[9] 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, Cleopatra, Helen of
Troy, Achilles, Paris, Tristan, and many others who were overcome by sexual
love during their life. Dante is told by Francesca da Riminihow 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 (Gianciotto).
Francesca reports that their act of adultery was triggered by reading the
adulterous story ofLancelot and Guinevere (an episode sculpted by Auguste
Rodin inThe 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:
... But to that second circle of sad hell,
Where ‘mid the gust, the whirlwind, and the flaw
Of rain and hail-stones, lovers need not tell
Their sorrows. Pale were the sweet lips I saw,
Pale were the lips I kiss’d, and fair the form
I floated with, about that melancholy storm.[10]
Third Circle (Gluttony)[edit]

The third circle, illustrated by Stradanus

Cerberus as illustrated by Gustave Doré

The "great worm" Cerberusguards thegluttons, 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."[11]The gluttons
lie here sightless and heedless of their neighbors, symbolizing the cold, selfish,
and empty sensuality of their lives.[11] 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.[12]
In this circle, Dante converses with a Florentine contemporary identified
as Ciacco, which means "hog."[13] A character with the same nickname later
appears in The Decameron of Giovanni Boccaccio.[14] Ciacco speaks to Dante
regarding strife in Florence between the "White" and "Black"Guelphs. In one of a
number of prophecies in the poem, Ciacco "predicts" the expulsion of the White
party, to which Dante belonged, and which led to Dante's own exile. This event
occurred in 1302, after the date in which the poem is set, but before the poem
was written[13] (Canto VI).
Fourth Circle (Greed)[edit]

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 mean are punished in the fourth circle. They include the avaricious or
miserly (including many "clergymen, and popes and cardinals"),[15] who hoarded
possessions, and the prodigal, who squandered them. The two groups are
guarded by a figure Dante names as Pluto, either Pluto the classical ruler of the
underworld or Plutusthe Greek god of wealth[16] (who uses the cryptic
phrasePapé Satàn, papé Satàn aleppe), but Virgil protects Dante from him. The
two groups joust, using as weapons great weights which they push with their
chests:
… 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?[17]
The contrast between these two groups leads Virgil to discourse on the nature
of 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."[18] 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"[19](Canto VII).
Fifth Circle (Anger)[edit]

The fifth circle, illustrated by Stradanus

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.

In the swampy waters of the river Styx, thewrathful 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."[20]Phlegyasreluctantly 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. 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,"[21] 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[22] (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, 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 Dante is threatened by
the 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 howErichtho sent him down to the lowest circle of Hell to bring back a
spirit from there (Cantos VIII and IX).[22]

Sixth Circle (Heresy)[edit]

In the sixth circle, Heretics, such as Epicureans (who say "the soul dies with the
body")[23] are trapped in flaming tombs. Dante holds discourse with a pair of
Epicurian Florentines in one of the tombs: Farinata degli Uberti,
a Ghibelline (posthumously condemned for heresy in 1283); andCavalcante de'
Cavalcanti, a 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, Emperor
Frederick II, and Pope Anastasius II.
In response to a question from Dante about the "prophecy" he has received,
Farinata explains that what the souls in Hell 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,"[24] 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 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:[25]
From these two, art and nature, it is fitting,
if you recall how Genesis begins,
for men to make their way, to gain their living;
and since the usurer prefers another
pathway, he scorns both nature in herself
and art her follower; his hope is elsewhere.[26]
Seventh Circle (Violence)[edit]
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 inPhlegethon, a river of boiling blood and fire, to a level
commensurate with their sins: Dionysius I of Syracuse, Guy de
Montfort, Obizzo d'Este, Ezzelino III da Romano, Rinier da Corneto, and
Rinier Pazzo are also seen in the Phlegethon as well as references to Atilla
the Hun. The Centaurs, commanded by Chiron and Pholus, patrol the ring,
shooting arrows into any sinners who emerge higher out of the river than each
is allowed. The centaur 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.
[27]

The Gianfigliazzi family was identified by a heraldic device of a lion (blue on yellow

background).

 Middle ring: In this ring are suicides and profligates. The suicides – the

violent against self – are transformed into gnarled thorny bushes and trees
and then fed upon by Harpies. Dante breaks a twig off one of the bushes and
from the broken, bleeding branch hears the tale of Pietro della Vigne, who
committed suicide after falling out of favour with Emperor Frederick II (his
presence here, rather than in the ninth circle, indicates that Dante believes
that the accusations made against him were false).[28] 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.[29] 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 profligates, 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 (blasphemers) and the violent
against nature (sodomites and, as explained in the sixth circle, 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 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"),[30] thus refuting suggestions that
Dante only placed his enemies in Hell.[31] 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, andGiovanni 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 devices emblazoned on the purses around
their necks, purses which "their eyes seemed to feast upon"[32] (Cantos XIV
through XVII).
Eighth Circle (Fraud)[edit]

A Gustave Doré wood engraving ofGeryon

Illustration by Sandro Botticelli: Dante and Virgil visit the first two Bolgie of the eighth circle
Jason and Medea, by John William Waterhouse (1907)

Dante's guide rebuffs Malacoda and his fiends between Bolgie 5 and 6, Canto 21

Dante climbs the flinty steps inBolgia 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.[33] However, Dante describes
Geryon as having three mixed natures: human, bestial, and reptilian.[33]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[34] (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: Panderers and seducers march in separate lines in opposite
directions, whipped by demons (here Dante makes reference to a recent
traffic rule developed for the Jubilee year of 1300 in Rome: keep to the right).
[35]
 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.[35] In the group of panderers, the poets notice
Venedico Caccianemico, who sold his own sister to the Marchese d'Este. In
the group of seducers, Virgil points out Jason, who gained the help
of Medeaby seducing and marrying her only to later desert her forCreusa.
[35]
 Jason also seduced Hypsipyle, but "abandoned her, alone and
pregnant"[36] (Canto XVIII).

 Bolgia 2: 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.[35] (Canto
XVIII).

 Bolgia 3: Dante now forcefully expresses[37] his condemnation of those

who committed simony. Those who committed simony are placed head-first in
holes in the rock (resembling baptismal fonts), 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 toSaint
Peter, is also seen here. 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[38] (Canto XIX).

 Bolgia 4: Sorcerers, astrologers, and false prophetshere have their heads

twisted around on their bodies backward, so that they "found it necessary to
walk backward, / because they could not see ahead of them."[39] While
referring primarily to attempts to see into the future by forbidden means, this
also symbolises the twisted nature of magic in general.[40] In this Bolgia, Dante
sees Amphiaraus, Tiresias (whose double transformation is also referenced),
Tiresias' daughterManto, Aruns, Michael Scot, Alberto de Casalodi, andGuido
Bonatti, among others (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.[41] The barrators are the political analogue of the simoniacs, and Dante
devotes several cantos to them. They are guarded by devils called
theMalebranche ("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."[42] 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"),[43] 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 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.[43] Dante speaks with Catalano
and Loderingo, two members of the Jovial Friars, an order that had acquired a
reputation for not living up to its vows[43] 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 thieves. They are guarded by

the centaur Cacus, who has a fire-breathing dragon on his shoulders
and snakes 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 snakes and lizards. 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,[44] 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 isCianfa.
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"[45] (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.[46] 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 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 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 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[47] (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.[48] As
they make their rounds the wounds heal, only to have the demon tear apart
their bodies again. Dante encounters Muhammad, who tells him to warn the
schismatic and heretic Fra Dolcino. Dante describes Muhammad as a
schismatic,[48][49] apparently viewing Islam as an off-shoot from Christianity,
and similarly Dante seems to condemn Ali for schism
between Sunni and Shiite . In this Bolgia, Dante also encountersBertran 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 (Cantos XXVIII and XXIX).

 Bolgia 10: In the final Bolgia, various sorts of falsifiers

(alchemists, counterfeiters, perjurers, andimpostors) – who are a "disease" on
society – are themselves afflicted with different types ofdiseases.[50] Potiphar's
wife is briefly mentioned for her false accusation of 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"[50] so that every aspect of
social interaction has been progressively destroyed (Cantos XXIX and XXX).
Ninth Circle (Treachery)[edit]
The ninth and last circle is ringed by classical and Biblical giants, who perhaps
symbolize pride and other spiritual flaws lying behind acts of treachery.[51] The
giants are standing on a ledge above the ninth circle of Hell,[52] so that from the
Malebolge they are visible from the waist up. They
includeNimrod, Ephialtes (who with his brother Otus tried to storm Olympus
during the Gigantomachy),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 lords. 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, 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"[53] 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"[54] (Canto XXXII).

 Round 2 is named Antenora, after 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 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 and Francesca in the second circle,
[55]
 indicating that this icy hell of betrayal is the final result of consent to
sin[55] (Cantos XXXII and XXXIII).

 Round 3 is named Ptolomaea, probably after Ptolemy, son of Abubus,

who invited Simon Maccabaeus and his sons to a banquet and then killed
them.[55] 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.[56] 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 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:
he had three faces: one in front bloodred;
and then another two that, just above
the midpoint of each shoulder, joined the first;
and at the crown, all three were reattached;
the right looked somewhat yellow, somewhat white;
the left in its appearance was like those
who come from where the Nile, descending, flows.[57]
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. Brutus and Cassiusare 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.[58] 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 all-powerful, all-knowing,
and loving nature of God.[58]
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).