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Another provocative aside makes it clear that Dante appreciates the revolutionary potential of the tensions that galvanize his Inferno.
In the press notes for the film he describes it, in a phrase borrowed from his hero, the Swedish dramatist (and misogynist), August Strindberg, as his "inferno crisis".
Dante faulted Celestine for giving in to the pressure of the ambitious cardinal Benedetto Caetani, his successor, who then became Boniface VIII and whom Dante placed in one of the lowest circles of his Inferno.
If Dante had peopled his inferno with the usual Christian suspects – the lying, the disloyal and self-interested, spoiled sons of the ill-gotten rich – then Rauschenberg's Hell is specifically homoerotic.
Dante, who wrote the Divine Comedy shortly after the 1300 Jubilee, mentioned Holy Year organizational zeal in his "Inferno" by likening the system for streamlining some sinners in hell to Romans' efforts to organize pedestrian traffic.
When Dante visited limbo, he tells us in the fourth canto of his Inferno, he asked its inhabitants if they remembered Christ's visit - and they were able to confirm the story.
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The geography of his fictional inferno (he provides a map), and his strikingly precise description of its dynamics, prefigure the current fire in amazing detail.
The promise is fulfilled in La divina commedia, which he composed many years later, expressing his exalted and spiritual love for Beatrice, who is his intercessor in the Inferno, his goal in traveling through Purgatorio, and his guide through Paradiso.
The title of his book, "Inferno," was well chosen.
Manila was depicted by Dan Brown in his novel Inferno as the "gates of hell".
It was the Italian poet Dante Alighieri who changed everything with his famous Inferno, which he began writing in about 1306 CE.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com