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Beyond, Nekyia, Inferno



In the history of literary figures often meet the afterlife, underworld, or hell (among them distinct concepts), used as narrative pretext. The idea that one gets is not uniform, it has several connotations and cultural stratification. In Western literature is a Christian afterlife, an afterlife pay traditional home-Mediterranean, a greek-roman, but very often a fusione tra più concezioni, altre volte contaminazione con altre idee, dallo Sheol ebraico all'Ade, da un'idea di Inferno non come luogo di pena ma semplicemente come dimora dei morti, a un'idea di Inferno di pene astratto o fisico. Differenze ci sono anche nella stessa mistica cristiana in diverse epoche.

"Inferno" è dal lat. "infernus" , "posto in basso", "inferiore", sinonimo di "inferus" . Col termine "inferno" ci si riferisce di solito solo alle 3 rel. monoteiste, invece "inferi" si riferisce a tutte le altre culture pagane antiche e moderne. Nel mondo greco-romano non compare l"Inferno", ma "Inferi"a indicare il sotterraneo "regno dei dead, whose king was the god Hades / Pluto or Dis / Proserpine, hence the name Hades, understood as the realm of the underworld, with the name of God extended to the site. The kingdom of the dead greek-Latin was a physical place , albeit vague and imaginative reach, where to stay shadow, undivided moral merits. Virgil in the Aeneid that will invent a hell of complex topography, dividing the underworld of Tartarus and the Elysian Fields, where there is a moral division between the shadows; Virgilio also invented the 'City of Dis', borrowed from Dante's Comedy.

(William Blake, Dante's Inferno for the table)

Judaism originating in Hell than other cultures takes on new connotations. The principle of evil, Satan, fallen angel, not a god (as in other cultures), but as an angel figure lower than God and he likes that betrays the most powerful man, and was appointed with the appellations of neighboring cultures, as if to emphasize the otherness and danger: Beelzebub (Figure Phoenician), and Hinnom (the Gehenna,) becomes the name of Hell instead of Sheol (the place of the dead underground). Hinnom was originally a pagan place of worship of Moloch, depicted in bronze, below which it opened a furnace where young people were sent to burn human sacrifices.

In the NT greek original text makes a distinction between Hades (meaning the grave) and Gehenna (such as fire, as the Valley of Hinnom), but not always respected in translation is the lexical-conceptual difference. Many, however, the passages in the Gospels where Jesus speaks of hell in person, either directly or using metaphors that are fundamentally very clear ('there shall be wailing and gnashing of teeth', 'the eternal fire') although the precise word, in itself, does not appear in the Bible.

to theology and Christian mysticism after an initial period in which the exegesis was not entirely detached from diverse cultures, including Catholic theology (such as evangelical and orthodox) portrays Hell as a place-no place is more metaphysical than physical, however, very real, far away punishment from God, eternal flame (except cross-modernist heresy that has challenged all the historical articles of faith) as the sacred text explains very well what you mean, but does not give a precise description.

For the hellish journey in literature, can not be apart from Dante, who has informed himself of most of the collective not only Italian, and already here the themes are not suitable for a short post, it will then only fleeting comments. Dante's Inferno is a Christian? depends on what value we give to words. In a way, no way.

For Dante the physical world was divided into two hemispheres, one consisting of land, the other covered by water. Dante mutual these ideas by incomplete knowledge of his time, but not from the Bible, where there is no mention of anything like this: the biblical text gives no indication if the cosmological no measurable universe, but does not say at all that the earth was at the center of the solar system-but this idea was embraced by Ptolemy, Dante, or that it was flat, or immersed in water outside, but the only thing the Bible is affirmed also proved scientifically accurate: Isaiah 40:22 states "He (God) is One who is enthroned above the circle of the Earth" with the term chug (globe, ball) ... and there are other biblical passages that were highlighted sphericity of the planet.

(representation of Dante's Inferno)

back to Dante, hell the conformation of the Commedia is due to advise the rebellion of Lucifer, to his being cast unto the earth from heaven , which Dante era un luogo fisico oltre il sistema di rotazione geocentrico. Nel punto in cui cadde Lucifero, il terreno si sarebbe ritratto per contatto con il demonio, creando così l'enorme imbuto dell'Inferno (dantesco). La porzione di terra ritratta, riemerse nell'emisfero delle acque agli antipodi e formò la Montagna del Purgatorio che si erge dal mare nell'emisfero opposto. Lucifero è per Dante quindi conficcato al centro della Terra, nel punto più lontano da Dio, immerso nel lago sotterraneo Cocito, perennemente ghiacciato a causa del vento freddo prodotto dal continuo movimento delle sue sei ali.

Nella Bibbia gli unici punti solo in parte in comune con la visione dantesca sono in Apocalisse, the chained figure of the Dragon for 1000 years by the Archangel Michael and the fall of the rebel angels in Ezekiel, however, very different from the Comedy.

Always in Comedy, but many are demons or monsters mentioned by Dante, some of his own invention, other sources for the most part mythological greek-roman. Minos, the Minotaur, sad boatman Charon, the Centaurs, Harpies, the Furies, Cerberus ... in this purely medieval poet Dante is revealed. Undoubtedly the most imaginative part of the exegete to the School of St. Bonaventure, St. Thomas Aquinas, Albertus Magnus and many fathers have revised some previous classical figures in a symbolic key. Other sources are the stories of Dante troubadour, the Chanson de Geste.

In this light comedy and should be located as the culmination of the medieval tradition as the highest literary outcome of the time, but also its end. But when Dante composed of comedy has a long tradition of travel to the underworld, with the common origin of the narrative pretext of Nekyia, already in Homer and Virgil. It should be allowed to start considering the Comedy as a meeting of very different codes, and not just as 'Christian poem' as is sometimes done, because in the strictly theological sense, it is not, but rather aims to be an encyclopedic Summa, yes longing to cento medieval art, the summary of all the culture of the time.

(Gustave Dore, engraving)


Nekyia , from the greek νέκυια (from νέκυς , arc. νεκρός of "dead") was among the Greeks the ancient rite (necromatico fact) with which evoked the dead for divination . In the eleventh part of the Odyssey, Odysseus tells how he reached Hades to question the seer Tiresias and conoscere la propria sorte: i morti sono presentati come ombre mute che per parlare, quindi per riacquistare una parvenza di vita, devono abbeverarsi con il sangue. Ulisse allora compie un sacrificio rituale, raccoglie il sangue delle vittime, e mentre le ombre assetate gli si fanno intorno come vampiri, si difende con la spada; terrà gli spiriti lontani durante l'incontro con un compagno morto, poi quando interrogherà l'ombra di Tiresia, infine quando parlerà con la propria madre; solo a questo punto concederà agli altri morti di bere il sangue e dunque di raccontare la loro storia.

Nel Libro VI dell'Eneide Virgilio segue in buona parte la narrazione di Homer: Even in the afterlife Aeneas meets a dead comrade, defends himself with a sword (but from the monsters of hell, not thirsty souls), tries in vain to embrace Ulysses as a shadow. With his description of the underworld, the Hades, Virgil, in spirit line between paganism and Roman Catholicism-greek, Virgil makes his belief in reincarnation in some way associated with the afterlife and yet the dream, the decisive factor for the later medieval tradition: the vestibule of dreams dall'Olmo Averno is shaded rooms, and Aeneas, completed his journey to leave the underworld through the Ivory Gate of Dreams.

Già nei primi secoli del medioevo si diffondono i resoconti di viaggi nell'aldilà in forma di Somnium, i sogni, o di visione, che alla lunga seguono uno schema fisso: il protagonista ha un malore o una febbre alta, resta per ore in uno stato di morte apparente e nel frattempo compie il viaggio nell'aldilà, per poi ritornare tra noi e raccontare. Spettatore più che attore, non scambia parole con le anime dei morti, che sono per lo più figure esemplari o tipi. Questo tipo di narrazione diventa un'abitudine letteraria, e nelle volgarizzazioni viene facilmente accostata al racconto di San Paolo asceso al terzo cielo, o all'Apocalisse di Giovanni, o alle visioni di Daniele. Nel Trecento, quando il brevissimo versetto del "quasi per ignem" paolino di 1 Cor. 3:15 ha già generato nell'immaginazione occidentale la tripartizione geografica dell'aldilà (non affatto esplicita nel testo biblico), Dante, sulla scorta della tradizione ma anche di una patristica a tratti fantasiosa non può che sancire la nascita del Purgatorio, luogo intermedio tra dannazione e beatitudine, più che non renderlo come ipotetico luogo intermedio metaforico e 'a tempo'. Dell'aldilà classico greco-romano ancora in Dante rimangono atmosfera e mostri, di quello medievale rimangono la suddivisione delle pene in base ai peccati, dei premi in base alle virtù, con le contaminazioni pagane più varie.

Other Comedy and influence in medieval literature is the Somnium Scipionis, song of "De Re Publica" of Cicero 54 BC with a strong moral value and imaginative together in this part of the work is of the soul, the premium otherworldly to the large men, in a philosophical-mystical vision of the afterlife according to Roman values. Enormous resonance throughout the Middle Ages. The content is organized as a narrative of Scipio Aemilianus in a dream where his grandfather Scipio Africanus, predicting the future, bearing witness to a vision of the celestial spheres, immortality of the soul.

Otherwise, if the play departs from previous texts in some areas, Purgatory, as the traditional greek roman afterlife, is punctuated by the 7 Deadly Sins, Hell is in three parts. In the first six circles there are incontinent, the violent in the 7th, 8th and 9th of those fraud. For those who insist only on the origin of the afterlife Christian Dante, are opposing some tests. There is no representation made 'a group' Christian biblical afterlife. In addition, the tripartite division of Dante's Inferno back on the one hand Nicomachean Ethics of Aristotle the other to "De Officiis" Cicero, averaged according to the conception of the right and duty through the Corpus Juris Civilis of Justinian: the structure of Dante's Inferno therefore not derived from the terms as commonly understood Jewish or Christian, but is largely suggested by Greek philosophy, Roman law, medieval theories of 'ecumenical'. Continue in fact are the echoes of the underworld journeys are charged, the Odyssey, Dante's known only indirectly through the Latin Vulgate, and the Aeneid, by far one of the texts present a watermark in the Comedy, plus the influence of Apuleius , Argonautica by Apollonius of Rhodes with the theme of the journey, the journey of initiation, transformation of self and soul, from Plotinus and pagan mystery cults themselves.

hero Ulysses in Dante's Inferno in Canto XXVI, è un doppio di Dante, il viaggiatore che ha tentato di raggiungere l'aldilà senza essere assistito dalla Grazia; Virgilio è la guida attraverso i primi 2 regni dell'oltretomba dantesco, poeta pagano, ma visto nel medioevo come fuso con il cristiano. La fede medievale in un unico Dio separa Dante dai predecessori politeisti pagani, pur usando lui tutto il loro bagaglio di temi in una sorta di grande centone enciclopedico delle credenze d'allora, e garantisce ovviamente il successo del suo viaggio, con la complice Beatrice morta e risorta in qualche modo che intercede per lui.

La discesa agli inferi, la visione d'aldilà, l'evocazione dei morti sono (anche) pretesti letterari, di cui qui abbiamo seen a few examples. Become also in the Commedia, as noted, not only a means for the future with more or less magical arts, but also to read this delivered in the afterlife, not without favoritism and personal revenge: this medieval Europe is apparently observed from an eternal perspective, taken at the time of history because it was already submitted to the imaginary God's judgment / filtered by Dante / narrator.

Josh