Inferno Outline/Review 1

Dantes Inferno Outline/Review Sheet

-----The following is a list of questions/characters/ideas to look out for
and remember from the list of cantos. You will find these helpful as
you complete your readers response journals
-----Refer to the Dore sketches to get a visual sense of each canto.
-----Keep the map of the Inferno handy
-----Be able to discuss the items listed in each canto
Dante Alighieri & The Divine Comedy
Dante's Life

Born in Florence in 1265; died in Ravenna in 1321

Met Beatrice circa 1274

Married Gemma Donati in 1289

Elected Prior (highest magistrate, a 2 month post) in 1300

Exiled from Florence in 1302

Literary Works

De Vulgari Eloquentia, on the origin and development of language

De Monarchia, on political theory

Convivio, unfinished, a compendium of knowledge

Vita Nuova, lyric poems and commentary

Commedia , dubbed The Divine Comedy in the 16th century, written from 130721. Relates a symbolic pilgrimage through Hell, Purgatory, & Heaven undertaken
by the fictitious pilgrim Dante beginning the evening before Good Friday, 1300.
The Divine Comedy
Literary Influences:

Old & New Testament

Homers Odyssey, and especially Virgil's Aeneid

St. Augustine's Confessions

Structure in Multiple Layers of Three to Symbolize the Trinity:

Inferno Outline/Review 2

Three Guides:
1. Virgil, symbol of human reason & poetry, through Inferno & Purgatorio
2. Beatrice, his pure human love, through most of Paradiso
3. St. Bernard de Clairvaux, a 12th century contemplative monk
Written in vernacular Italian in terza rima (aba, bcb, cdc, etc.)
33 cantos in each canticle (Inferno, Purgatorio, and Paradiso), plus one in the
beginning as an introduction = 100.
Nine circles of Hell + anteroom = 10; seven levels of purgatory plus three anteterraces = 10; nine heavenly spheres + empyrean = 10.
Three beasts block his path: Leopard, Lion, and She-Wolf.

"Peopled" by hundreds of historical, contemporaneous, and mythical figures who had

died by the year 1300, but who may have lived centuries before.
Inferno Map:
Circle 1: The Virtuous Pagans
Circle 7: The Violent
Circle 2: The Lascivious/Lustful
Circle 8: The Fraudulent
Circle 3: The Gluttonous
Circle 9: The Lake of the Treacherous
Circle 4: The Miserly and the Wasteful
against kindred, country,
Circle 5: The Wrathful
guests, lords, etc.
Circle 6: The Heretics
The poem begins on Holy Thursday, April 7th running to Easter
Sunday, April 10, A.D. 1300
Three types of sin:
1) Incontinence: Second, Third, Fourth, and Fifth Circles. (Arch-heretics inhabit the
Sixth Circle.)
2) Violence: Seventh Circle (three concentric parts: river, wood, desert)
3) Fraud: (a) without treachery: Eighth Circle (ten evil pouches of Malebolge)
(b) with treachery: Ninth Circle (four concentric rings of ice)

THESCHEDULEOFDANTESJOURNEYTOHELL
DANTESJOURNEY

Inferno Outline/Review 3
The poem begins on Holy Thursday, April 7th running to Easter
Sunday, April 10, A.D. 1300
HolyThursday
Danteinthedarkwood:
Midwayinourlifesjourney,Iwentastray
fromthestraightroadandwoketofindmyself
aloneinadarkwood.(Inferno1.13)

GoodFridaymorning:

Danteattemptsthesunnyhill:
Butattheendofthatvalleyofevil
whosemazehadsappedmyveryheartwithfear!
Ifoundmyselfbeforealittlehill
andliftedupmyeyes.Itsshouldersglowed
alreadywiththesweetraysofthatplanet
whosevirtueleadsmenstraightoneveryroad,(Inferno1.1318)

GoodFridayday:

Danteconfrontsthethreebeasts:
Andlo!
almostatthebeginningoftherise
IfacedaspottedLeopard,alltremorandflow
...
YetnosomuchbutwhatIshookwithdread
atthesightofagreatLionthatbrokuponme
ragingwithhunger,itsenormoushead
heldhighasiftostrikeamortalterror
intotheveryair.Anddownhistrack,
aSheWolfdroveuponme,astarvedhorror
raveningandwastedbeyondallbelief.(Inferno1.3160)

GoodFridayevening:

DantemeetsVergilandbeginshisjourney:
AndasIfelltomysoulsruin,apresence
gatheredbeforemeonthediscoloredair,
thefigureofonewhoseemedhoarsefromlongsilence.(Inferno1.61ff)

HolySaturdaymorningjustpastmidnight: DanteandVergilapproachtheRiverStyx
Butthestarsthatmarkedourstartingfallaway.
Wemustgodeeperintogreaterpain,
foritisnotpermittedthatwestay.(Inferno7.9799)

Inferno Outline/Review 4
Around4:00AM:

DanteandVergilentertheSeventhCircle(theviolentandbestial)
Butcome,foritismywishnowtogoon:
thewheelturnsandtheWainliesoverCaurus,
theFisharequiveringlowonthehorizon,
andtherebeyondusrunstheroadwego
downthedarkscarpintothedepthsbelow.(Inferno11.112116)

Around6:00AM(justbeforesunrise):DanteandVergilleavetheFourthBolgiaofthe
EighthCircle
Butcome:Cainwithhisbushofthronsappears
alreadyonhiswavebelowSeville,
abovetheboundaryofthehemispheres;
andthemoonwasfullalreadyyesternight,
asyoumustwellrememberfromthewood,
foritcertainlydidnotharmyouwhenitslight
shonedownyuponyourwaybeforethedawn.(Inferno20.124130)

EasterSundaymorning:

DanteemergesfromHell.
Hefirst,Isecond,withoutthoughtofrest
weclimbedthedarkuntilwereachedthepoint
wherearoundopeningbroughtinsighttheblest
andbeauteousshiningoftheHeavenlycars.
AndwealkedoutoncemorebeneaththeStars.(Inferno34.139143)

ASUMMARYOFTHELASTDAYSOFCHRIST
HolyThursday

LastSupper

Matthew26.1735;Mark14.1231;Luke22.734;John13.21

GoodFriday

Crucifixion.

Mt.27.3256;Mk.15.2141;Lk.23.2649;Jn.19.17

30,3638

30

EasterSunday Resurrection.

Mt.28.110;Mk.16.110;Lk,24.112;Jn.

Inferno Outline/Review 5

Possible Reading Response Journal Topice

Cantos
1. Good Friday, April 8th, 1300: Dante lost; three beasts; Virgil rescues Dante; what are
Dantes first spoken words and why is this important? Fascination with threes: terza
rima, three beasts representative of sins of youth, maturity, and old age, etc.

2. Dante hesitates; three heavenly women; start of twenty-four hour trip to Earths center

3. Hells gate: the morally neutral; the gathering of the damned; Charon; Acheron

4. First Circle: Limbo; the unbaptized; the good pagans; how is Dante treated by the good
pagans?; how do we countenance the necessity of putting unbaptized
children in hell?

5. Second Circle: Judge Minos; the lustful; the dark winds; Francesca and Paola; how
does Dante treat the lustful sinners?; why does Dante collapse as he
leaves this part of hell?
6. Third Circle: the dog Cerberus(again, the number three!); the gluttonous; endless cold,
dirty rain; Ciacco: what does Ciacco ask Dante to do when the poet
returns from hell?
7. Fourth Circle: the wolf Pluto; misers, wastrels; rock-pushing; the River Styx. Fifth
Circle: the angry (thrashed); the sullen (submerged, bubbles); how are
the punishments in the fifth circle appropriate to the sin?

8. Fifth Circle (continued): the boatman Phlegyas; Filippo Argenti; City of Dis sighted;
how does Dante treat Argenti?; should we be troubled by this?

Inferno Outline/Review 6

9. Fifth Circle (continued): the Furies at the gate; the delivering angel; City of Dis
entered. Sixth Circle: heretics in flaming tombs; what is the distinction
Dante makes between the heretics within Dis and the heretics (noble
pagans) in Limbo?

10. Sixth Circle (continued): Epicurus; Farinata prophesies; father of Dantes friend
Calvalcanti; what does Farinata prophesize about Dante?; how does Dante
react?

11. Respite: Virgil explains the classification of sins; why does Dante include this
review?

12. Seventh Circle: Minotaur, centaurs; the violent against others; the river of blood

13. Seventh Circle (continued): the violent against self; the tangled wood; the suicides;
the Harpies. How is the punishment in this area of the circle
appropriate to the sin?

14. Seventh Circle (continued): the violent against God/nature; the desert, with flame
flakes; the blasphemers; Capaneus; how does Virgil respond to
Capaneus? Why was Capaneus punished and why does this not fit in
Dantes Christian belief?

15. Seventh Circle (continued): the violent against nature; the sodomites; Brunetto
Latini;; what is Brunetto punished for?; Is his punishment just? What
does Dante the character think? And is this different from Dante the
poet?

16. Seventh Circle (continued): the violent against nature (continued): three Florentine
nobleman; the usurers; How does Dante present the sinners in this

Inferno Outline/Review 7
circle? Why does he seem to treat and speak of them differently from
other sinners?

17. Man-serpent Geryon lowers Virgil and Dante to the next circle; what two
mythological stories does Dante use to describe his flight on the back of Geryon?
How is the description of flight more nightmarish despite the details?

18. Eighth Circle: first ditch: panderers, seducers; whipped by demons; Jason. Second
ditch: flatterers; immersed in filth; Thais; this circle is called Maleborge
(evil pouches) probably in reference to the money-pocketing greed
linked with fraud. How do the sinners in this circle differ from the
sodomites and the usurers? Why is there a difference in behavior?
19. Eighth Circle (continued): third ditch; simonists; popes upside down in flaming holes;
how does Dante treat the sinners?; how is this scenario similar to the
Argenti scene, particularly in the way that Virgil responds to Dantes
Outbursts?

20. Eighth Circle (continued): fourth ditch: soothsayers; heads on backwards; what is the
story of Tiresias? How does Dante react to the sight of the sinners in
this canto? And what is Virgils reaction to this?
21. Eighth Circle (continued): fifth ditch: grafters; boiling pitch; deceiving demons
(Malebranche); discuss whether the demons act appropriately in this
canto.
22. Eighth Circle (continued): fifth ditch (continued): Ciampolo of Navarre; deceived
demons; what happens to the demons in this canto?

23. Eighth Circle (continued): sixth ditch: hypocrites; leaden cloaks; two monks; Caiphas
and Annas; what is the punishment for Caiphas and Annas?; why or
why not is it appropriate?

Inferno Outline/Review 8

24. Eighth Circle (continued): seventh ditch: thieves; fiery serpents; Vanni Fucci; what
imagery does Dante evoke to describe the change of Virgils angry
countenance in the beginning of this canto; how does this imagery
contradict the punishment for the sinners in this circle?
25. Eighth Circle (continued) seventh ditch (continued): transformation of thieves; what
happens to the thieves in this circle and why might this be appropriate
to their sin?
26. Eighth Circle (continued): eighth ditch: evil advisers; enflamed souls;
Ulysses/Diomedes; What is the nature of Dantes dreams? How could Ulysses have
inspired the poet Tennyson in his poem Ulysses? Why doesnt Dante speak to either
Ulysees or Diomedes?

27. Eighth Circle (continued): eighth ditch (continued): soldier monk Guido da
Montefeltro (in whose poem does Montefeltros words appear?) what is this
spirit/sinners story?

28. Eighth Circle (continued): ninth ditch: dividers; mutilated; Muhammad, Bertran de
Born; what was Bertrans crime and how is his punishment appropriate? What relation is
Ali to Muhammad? Find out how the relationship between Muhammed and Ali leads to a
religious schism founding the sects of Sunnites and Shiites.

29. Eighth Circle: (continued): tenth ditch: falsifiers; ills of mind, body; alchemists; what
is the story of the shade from Azezzo, whay does this lead to Dantes assertion about all
people from Siena? What is the story of Capocchio? How is Cappuchio related to
Dante?
30. Eighth Circle: tenth ditch (continued): impersonators, counterfeiters, liars; Gianni
Schicchi. How does Dante react to the events surrounding the brawl between Schicchi
and Sinon? How does Virgil react to Dantes reaction?

Inferno Outline/Review 9

31. Towering Giants: Dante and Virgil lowered into pit; Nimrod: why is his punishment
appropriate?; Ephialtes and Anteus: why are they punished; frozen Cocytus: how does
Dante feel about the way he was moved to the floor of hell?
32. Ninth Circle: traitors. Caina: traitors to kin; ice up to neck, heads down. Antenora:
traitors to city; faces upward; why does Dante provide another invocation as he enters
Cocytus? How does Dante treat Bocca? What does Dantes treatment of Bocca reveal
about the poets character?
33. Ninth Circle (continued): Ugolino: Was Ugolino guilty of cannibalism in life?
Tolomea: traitors to guests; on backs, heads up; review Gaddos cry in line 69, to what is
it reminiscent? What does Fra Alberigo mean when he refers to figs having been repaid
with dates?
34. Ninth Circle (continued): Judecca (in Dantes time this was a word for Jewish ghettos,
what does this reveal?): traitors to benefactors; under ice, except for Satan; Judas, Brutus,
and Cassius; To what does Lucifers three faces refer? Dante leaves this last canto at
dawn before Easter Sunday: why is this significant? What do the stars symbolize?

Inferno Outline/Review 10

From: http://eure10regents.files.wordpress.com/2010/11/inferno-map-01.png

Inferno Outline/Review 11

Below is from:
http://www.dartmouth.edu/~milton/reading_room/pl/book_1/index.shtml

Lines from John Miltons Paradise Lost(1667)

IsthistheRegion,thistheSoil,theClime,
SaidthenthelostArchAngel,thistheseat
ThatwemustchangeforHeav'n,thismournfulgloom
Forthatcelestiallight?Beitso,sincehe[245]
WhonowisSovrancandisposeandbid
Whatshallberight:fardestfromhimisbest
Whomreasonhathequald,forcehathmadesupream
Abovehisequals.FarewelhappyFields
WhereJoyforeverdwells:Hailhorrours,hail[250]
Infernalworld,andthouprofoundestHell
ReceivethynewPossessor:Onewhobrings
Amindnottobechang'dbyPlaceorTime.
Themindisitsownplace,andinitself
CanmakeaHeav'nofHell,aHellofHeav'n.[255]
Whatmatterwhere,ifIbestillthesame,
AndwhatIshouldbe,allbutlessthenhe
WhomThunderhathmadegreater?Hereatleast
Weshallbefree;th'Almightyhathnotbuilt
Hereforhisenvy,willnotdriveushence:[260]
Herewemayreignsecure,andinmychoyce
ToreignisworthambitionthoughinHell:
BettertoreigninHell,thenservein

Heav'n.
Butwhereforeletwethenourfaithfulfriends,
Th'associatesandcopartnersofourloss[265]
Lyethusastonishtonth'obliviousPool,
Andcallthemnottosharewithustheirpart
InthisunhappyMansion,oroncemore
WithralliedArmstotrywhatmaybeyet
RegaindinHeav'n,orwhatmorelostinHell?[270]
How is Miltons Satan different from Dantes? Which poets vision coincides with your
own view of Satan?

Inferno Outline/Review 12

Below is from: http://www.eecs.harvard.edu/~keith/poems/Ulysses.html

ULYSSES
Alfred, Lord Tennyson
It little profits that an idle king,
By this still hearth, among these barren crags,
Matched with an aged wife, I mete and dole
Unequal laws unto a savage race,
That hoard, and sleep, and feed, and know not me.
I cannot rest from travel; I will drink
life to the lees. All times I have enjoyed
Greatly, have suffered greatly, both with those
that loved me, and alone; on shore, and when
Through scudding drifts the rainy Hyades
Vexed the dim sea. I am become a name;
For always roaming with a hungry heart
Much have I seen and known---cities of men
And manners, climates, councils, governments,
Myself not least, but honored of them all--And drunk delight of battle with my peers,
Far on the ringing plains of windy Troy.
I am part of all that I have met;
Yet all experience is an arch wherethrough
Gleams that untraveled world whose margin fades
Forever and forever when I move.
How dull it is to pause, to make an end.
To rust unburnished, not to shine in use!
As though to breathe were life! Life piled on life
Were all too little, and of one to me
Little remains; but every hour is saved
From that eternal silence, something more,
A bringer of new things; and vile it were
For some three suns to store and hoard myself,
And this gray spirit yearning in desire
To follow knowledge like a sinking star,
Beyond the utmost bound of human thought.
This is my son, my own Telemachus,
To whom I leave the scepter and the isle--Well-loved of me, discerning to fulfill
This labor, by slow prudence to make mild

Inferno Outline/Review 13
A rugged people, and through soft degrees
Subdue them to the useful and the good.
Most blameless is he, centered in the sphere
Of common duties, decent not to fail
In offices of tenderness, and pay
Meet adoration to my household gods,
When I am gone. He works his work, I mine.
There lies the port; the vessel puffs her sail;
There gloom the dark, broad seas. My mariners,
Souls that have toiled, and wrought, and thought with me--That ever with a frolic welcome took
The thunder and the sunshine, and opposed
Free hearts, free foreheads---you and I are old;
Old age hath yet his honor and his toil.
Death closes all; but something ere the end,
Some work of noble note, may yet be done,
Not unbecoming men that strove with gods.
The lights begin to twinkle from the rocks;
The long day wanes; the slow moon climbs; the deep
Moans round with many voices. Come, my friends.
'Tis not too late to seek a newer world.
Push off, and sitting well in order smite
the sounding furrows; for my purpose holds
To sail beyond the sunset, and the baths
Of all the western stars, until I die.
It may be that the gulfs will wash us down;
It may be that we shall touch the Happy Isles,
And see the great Achilles, whom we knew.
Though much is taken, much abides; and though
We are not now that strength which in old days
Moved earth and heaven, that which we are, we are--One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.
1842

Inferno Outline/Review 14

Below is from:
http://www.wsu.edu:8080/~wldciv/world_civ_reader/world_civ_reader_2/eliot.html

T. S. Eliot: The Love Song of J. Alfred

Prufrock (1919)
Eliot was born in St. Louis and educated at Harvard University, but most of his adult life
was passed in London. In the vanguard of the artistic movement known as Modernism,
Eliot was a unique innovator in poetry and The Waste Land (1922) stands as one of the
most original and influential poems of the twentieth century. As a young man he suffered
a religious crisis and a nervous breakdown before regaining his emotional equilibrium
and Christian faith. His early poetry, including "Prufrock," deals with spiritually
exhausted people who exist in the impersonal modern city. Prufrock is a representative
character who cannot reconcile his thoughts and understanding with his feelings and
will. The poem displays several levels of irony, the most important of which grows out of
the vain, weak man's insights into his sterile life and his lack of will to change that life.
The poem is replete with images of enervation and paralysis, such as the evening
described as "etherized," immobile. Prufrock understands that he and his associates lack
authenticity. One part of himself would like to startle them out of their meaningless lives,
but to accomplish this he would have to risk disturbing his "universe," being rejected.
The latter part of the poem captures his sense defeat for failing to act courageously. Eliot
helped to set the modernist fashion for blending references to the classics with the most
sordid type of realism, then expressing the blend in majestic language which seems to
mock the subject.
What makes this poem different from a normal love song?
S'io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s'i'odo il vero,
Senza tema d'infamia ti rispondo. (1)
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized (2) upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels

Inferno Outline/Review 15
And sawdust (3) restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question . . .
Oh, do not ask, "What is it?"
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo. (4)
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, "Do I dare?" and, "Do I dare?"
Time to turn back and descend the stair,
With a bald spot in the middle of my hair-[They will say: "How his hair is growing thin!"]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin-[They will say: "But how his arms and legs are thin!"]
Do I dare
Disturb the universe?
In a minute there is time

Inferno Outline/Review 16
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all:-Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all-The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all-Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
.....
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? . . .
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
.....
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep . . . tired . . . or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices, (5)
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head [grown slightly bald] brought in upon a platter, (6)
I am no prophet--and here's no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,

Inferno Outline/Review 17
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: "I am Lazarus, (7) come from the dead
Come back to tell you all, I shall tell you all"-If one, settling a pillow by her head,
Should say: "That is not what I meant at all.
That is not it, at all."
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the
floor-And this, and so much more?-It is impossible to say just what I mean!
But as if a magic lantern (8) threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
"That is not it at all,
That is not what I meant, at all."
.....
No! I am not Prince Hamlet, (9) nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse
At times, indeed, almost ridiculous-Almost, at times, the Fool.
I grow old . . .I grow old . . .
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.

Inferno Outline/Review 18
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
(1) A passage from Dante Alighieri's Inferno (Canto 27, lines 61-66) spoken by Guido da
Montefeltro in response to the questions of Dante, who Guido supposes is dead, since he
is in Hell:. The flame in which Guido is encased vibrates as he speaks: "If I thought that
that I was replying to someone who would ever return to the world, this flame would
cease to flicker. But since no one ever returns from these depths alive, if what I've heard
is true, I will answer you without fear of infamy."
(2) Anesthetized with ether; but also suggesting "made etherial," less real.
(3) Cheap bars and restaurants used to spread sawdust on the floor to soak up spilled beer,
etc.
(4) The great Renaissance Italian artist.
(5) Cookies and ice cream.
(6) Like John the Baptist (see Matthew 14: 1-12)
(7) A man raised from death by Jesus (see John 11: 1-44).
(8) Early form of slide projector.
(9) Shakespeare's sensitive hero known for procrastination.

Inferno Outline/Review 19