The Dantean conceptions of Inferno were childish and unworthy of the divine imagination: fire and torture. Boredom is much more subtle. The inner torture of a mind unable to escape itself in any way, condemned to fester in its own exuding mental pus for all time, is much more fitting.

Dante's Inferno was peopled mostly with those who had committed crimes recognized as such by the statute laws of this world. I enlarged the conception of this inferno to include many other kinds of offenders-in fact, all of us. I wanted a bigger and better-a democratic Hell, and modern efficiency. I felt that editors, preachers, politicians, poets, landlords, lawyers, cartoonists-and many others-should not be exempt from a properly planned region for future punishment. (September 16th)

The ecclesiastical description of Hell is that of a horrible place of fire and torment; in Dante's Inferno, and in northern climes, it was thought to be an icy cold region, a giant refrigerator. (Even with all their threats of eternal damnation and soul roasting, Christian missionaries have run across some who were not so quick to swallow their drivel. Pleasure and pain, like beauty, are in the eye of the beholder. So, when missionaries ventured into Alaska and warned the Eskimos of the horrors of Hell and the blazing lake of fire awaiting transgressors, they eagerly asked: "How do we get there?")

Insulting the Prophet is something that has been going on in Europe for a very long time. In Dante's Inferno, if you're interested in the 28th Canto, where Dante is being taken on his conducted tour of hell and guided by Virgil, he comes across the Prophet Mohammed in the course of his eternal damnation. He is punished I quote Dante's words, as a seminator di scandalo e di scisma, a sower of scandal and of schism. Now, this is very insulting. In the great Cathedral of Bologna there is a wonderful set of pictures painted, if I remember rightly, in the 15th century depicting scenes from Dante's Inferno, including some very graphic pictures of Mohammed being tortured in hell by the devil very graphic.</br>Nobody did anything about this. A couple of years ago, the leaders of the Italian-Muslim community sent a polite request to the cathedral saying these are insulting to Muslims; would they mind covering those pictures. The cathedral administration said they would consider it. Nothing happened. The pictures are still in view.

They [the wise spirits of antiquity in the first circle of Dante's Inferno] are condemned, Dante tells us, to no other penalty than to live in desire without hope, a fate appropriate to noble souls with a clear vision of life.

The law of Dante’s Hell is the law of symbolic retribution. As they sinned so are they punished. They took no sides, therefore they are given no place. As they pursued the ever-shifting illusion of their own advantage, changing their courses with every changing wind, so they pursue eternally an elusive, ever-shifting banner. As their sin was a darkness, so they move in darkness. As their own guilty conscience pursued them, so they are pursued by swarms of wasps and hornets. And as their actions were a moral filth, so they run eternally through the filth of worms and maggots which they themselves feed.

Tis Dante I prefer. In his Inferno he suggests the one true path from Hell lies at its very heart...
...and that in order to escape, we must instead go further IN.

For whence did Dante get the material for his hell, if not from this actual world of ours? And indeed he made a downright hell of it.

Shaw’s employment of the language proves no less self-sufficient in this uncostumed and unset “reading” of “Don Juan in Hell.” Yet there is a striking difference. Shaw has no interest in conjuring images to evoke a physical setting. He makes fun of Dante for having described hell as a place of mud, frost, filth, fire, and venomous serpents. He is equally contemptuous of Milton for having introduced cannon and gunpowder as a means of expelling the Devil from heaven. Shaw’s hell is visually nonexistent. In his own words “there is nothing; omnipresent nothing. No sky, no peaks, no light, no sound, no time nor space, utter void.” There is only somewhere the faint throbbing buzz of a Mozartian strain and a pallor which “reveals a man in the void, an incorporeal but visible man, seated, absurdly enough, on nothing.

Dante, I think, committed a crude blunder when, with a terror-inspiring ingenuity, he placed above the gateway of his hell the inscription, 'I too was created by eternal love' — at any rate, there would be more justification for placing above the gateway to the Christian Paradise...the inscription 'I too was created by eternal hate'...

When religions describe the dream of hell, they say it’s a place where we burn, a place where we are judged, a place of eternal punishment. Well, that description of hell is the ordinary dream of the humans. That very same thing is happening in the human mind — the judgment, the guilt, the punishment, and the emotions generated by fear that feel like a fire burning inside us. Fear is king of the underworld, and it rules our world by creating the distortions in our knowledge. Fear creates the whole world of injustice and emotional drama, the whole nightmare that billions of people are living in.

Dante was trying to get to the bottom of what constitutes evil. There's a hierarchy of reprehensible behavior, and Dante thought it was betrayal. And I think that's right, because I believe the fundamental human resource is trust.

Boredom is a larval anxiety; depression, a dreamy hatred.

Now the thought
Both of lost happiness and lasting pain
Torments him; round he throws his baleful eyes
That witnessed huge affliction and dismay
Mixed with obdurate pride and steadfast hate:
At once as far as angels ken he views
The dismal situation waste and wild,
A dungeon horrible, on all sides round
As one great furnace flamed, yet from those flames
No light, but rather darkness visible
Served only to discover sights of woe,
Regions of sorrow, doleful shades, where peace
And rest can never dwell, hope never comes
That comes to all; but torture without end
Still urges, and a fiery deluge, fed
With ever-burning sulfur unconsumed.