When Dante responds "In weeping and in grieving, accursed spirit, may you long remain," [57] Virgil blesses him with words used to describe Christ himself ( Luke 11:27). 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. [58] Entrance to Dis [ edit ] Main article: Second circle of hell Gustave Doré's depiction of Minos judging sinners at the start of Canto V

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Dante Dartmouth Project: Full text of more than 70 Italian, Latin, and English commentaries on the Commedia, ranging in date from 1322 ( Iacopo Alighieri) to the 2000s (Robert Hollander) Francesca further reports that she and Paolo yielded to their love when reading the story of the adultery between Lancelot and Guinevere in the Old French romance Lancelot du Lac. Francesca says, " Galeotto fu 'l libro e chi lo scrisse". [42] The word "Galeotto" means " pander" but is also the Italian term for Gallehaut, who acted as an intermediary between Lancelot and Guinevere, encouraging them on to love. John Ciardi renders line 137 as "That book, and he who wrote it, was a pander." [43] Inspired by Dante, author Giovanni Boccaccio invoked the name Prencipe Galeotto in the alternative title to The Decameron, a 14th-century collection of novellas. Ultimately, Francesca never makes a full confession to Dante. Rather than admit to her and Paolo's sins, the very reasons they reside in this circle of hell, she consistently takes an erroneously passive role in the adulterous affair. The English poet John Keats, in his sonnet "On a Dream", imagines what Dante does not give us, the point of view of Paolo: In the Bible, the Book of Isaiah 14:12 reads: "How art thou fallen from heaven, O Lucifer, son of the morning! How art thou cut down to the ground, which didst weaken the nations." This is a direct reference to God casting out Satan from heaven. "Lucifer, the 'morning star' is the expression with which Isaiah defines a future king of Babylon," Montesano said. "The fathers of the early medieval church, however, elaborated the figure of Lucifer far beyond the biblical text, making him the rebel angel and transforming him into the paradigm of pride as the capital sin." The canto opens with a description of Dante’s amazement at the extraordinary nature of the signal adopted by the devils for communication – the fart (recall the end of Canto XXI). The military references with which the canto opens are meant to evoke the battle of Campaldino, in which the Florentines – Dante amongst them – had defeated the army from Arezzo. This reference is no mere coincidence, especially if related to the reference which had been made in Canto XXI (lines 94–96) to the Florentine assault on the castle of Caprona, in which Dante also took part. These reminders of Dante’s contribution to the success of two important Florentine military campaigns could be seen as a subtle way for Dante to counter the accusations of treachery toward the city which had been laid against him (in the accusations which led to Dante’s exile, Dante was, amongst other things, accused of being a barrator.) Rubicante" redirects here. For the character from the Final Fantasy video game series, see Rubicante (Final Fantasy). The Malebranche threaten Virgil and Dante, portrayed by Gustave Doré.At about 6:00 p.m. on Saturday evening, Virgil and Dante begin their escape from Hell by clambering down Satan's ragged fur, feet-first. When they reach Satan's genitalia, the poets pass through the center of the universe and of gravity from the Northern Hemisphere of land to the Southern Hemisphere of water. When Virgil changes direction and begins to climb "upward" towards the surface of the Earth at the antipodes, Dante, in his confusion, initially believes they are returning to Hell. Virgil indicates that the time is halfway between the canonical hours of Prime (6:00 a.m.) and Terce (9:00 a.m.) — that is, 7:30a.m. of the same Holy Saturday which was just about to end. Dante is confused as to how, after about an hour and a half of climbing, it is now apparently morning. Virgil explains that it is as a result of passing through the Earth's center into the Southern Hemisphere, which is twelve hours ahead of Jerusalem, the central city of the Northern Hemisphere (where, therefore, it is currently 7:30p.m.). The gnawing sinner tells his story: he is Count Ugolino, and the head he gnaws belongs to Archbishop Ruggieri. In "the most pathetic and dramatic passage of the Inferno", [104] Ugolino describes how he conspired with Ruggieri in 1288 to oust his nephew, Nino Visconti, and take control over the Guelphs of Pisa. However, as soon as Nino was gone, the Archbishop, sensing the Guelphs' weakened position, turned on Ugolino and imprisoned him with his sons and grandsons in the Torre dei Gualandi. In March 1289, the Archbishop condemned the prisoners to death by starvation in the tower. A Pillar of the Community · Bill Sutton · Brother Against Brother · Familiar Faces · Fertilizer Woman · Holly · Lucy Abernathy · Maintenance Man · Quality Assurance · Supervisor Brown · Supervisor Greene · Suspected Synth · Wedding Day i think the refs called the scorer wrong cos Andrew Lord just said in post game interview that Morrisette scored the ENG

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Dante and Virgil leave Limbo and enter the Second Circle – the first of the circles of Incontinence – where the punishments of Hell proper begin. It is described as "a part where no thing gleams". [32] They find their way hindered by the serpentine Minos, who judges all of those condemned for active, deliberately willed sin to one of the lower circles. At this point in Inferno, every soul is required to confess all of their sins to Minos, after which Minos sentences each soul to its torment by wrapping his tail around himself a number of times corresponding to the circle of Hell to which the soul must go. The role of Minos here is a combination of his classical role as condemner and unjust judge of the underworld and the role of classical Rhadamanthus, interrogator and confessor of the underworld. [33] This mandatory confession makes it so every soul verbalizes and sanctions their own ranking amongst the condemned since these confessions are the sole grounds for their placement in hell. [34] Dante is not forced to make this confession; instead, Virgil rebukes Minos, and he and Dante continue on. The Malebranche ( Italian: [ˌmaleˈbraŋke]; "Evil Claws") [1] are the demons in the Inferno of Dante's Divine Comedy who guard Bolgia Five of the Eighth Circle ( Malebolge). They figure in Cantos XXI, XXII, and XXIII. Vulgar and quarrelsome, their duty is to force the corrupt politicians ( barrators) to stay under the surface of a boiling lake of pitch. Dante passes through the gate of Hell, which bears an inscription ending with the phrase " Lasciate ogne speranza, voi ch'intrate", [17] most frequently translated as "Abandon all hope, ye who enter here." [nb 1] Dante and his guide hear the anguished screams of the Uncommitted. These are the souls of people who in life took no sides; the opportunists who were for neither good nor evil, but instead were merely concerned with themselves. Among these Dante recognizes a figure who made the " great refusal," implied to be Pope Celestine V, whose "cowardice (in selfish terror for his own welfare) served as the door through which so much evil entered the Church". [18] Mixed with them are outcasts who took no side in the Rebellion of Angels. These souls are forever unclassified; they are neither in Hell nor out of it, but reside on the shores of the Acheron. Naked and futile, they race around through the mist in eternal pursuit of an elusive, wavering banner (symbolic of their pursuit of ever-shifting self-interest) while relentlessly chased by swarms of wasps and hornets, who continually sting them. [19] Loathsome maggots and worms at the sinners' feet drink the putrid mixture of blood, pus, and tears that flows down their bodies. This symbolizes the sting of their guilty conscience and the repugnance of sin. [ citation needed] This may also be seen as a reflection of the spiritual stagnation in which they lived. John Yueh-Han Yieh, One Teacher: Jesus' Teaching Role in Matthew's Gospel Report (Walter de Gruyter, 2005) p. 65; Robert Walter Funk, The acts of Jesus: the search for the authentic deeds of Jesus (Harper San Francisco, 1998) pp. 129–270.After finishing Speak of the Devil, an additional miscellaneous objective to access the Devil's terminal in Mass Pike Tunnel, found on the console behind the X-02 power armor, will be added. Accessing the "A humble request" option will lead to another objective to either shut down the radio transmission or to restore the Enclave Radio station. The canto opens, as the previous one had done, with a reference to the poetic nature of Dante’s text, which is referred to in line 2 as a ‘comedìa’. The term ‘comedìa’ (also used at the end of Canto XVI) clearly contrasts the expression ‘alta tragedìa’ used in InfernoXX, 113 to refer to Virgil’s Aeneid. This points to the fact that while Virgil’s poetry may have been a very important source of inspiration for Dante, Dante wishes the work he is writing to be of a different kind from Virgil’s high style. Indeed, in Canto XXI we move from the tragic and solemn tone of Canto XX to languages and images of a comic, farcical and grotesque character. Other experts disagree. "The goat, which until the Middle Ages was barely linked to demonology, assumed a new role [around this time]." Montesano said. "According to some scholars, this new role comes mainly from its association with Nordic myths. Others say it might derive from the pagan god Pan, while British historian Ronald Hutton thinks it has more to do with neo-pagan revival of modern — not Medieval — times." Note how some of the narrative detail may be seen to reflect the nature of the sin of hypocrisy. For example, line 72 may be seen to suggest that when talking to a hypocrite one can actually never be sure of the true intentions of the person one is talking to. The portrayal of the friars in lines 76–93 also suggests this. The eagerness of the friars to meet Dante is counterbalanced by an emphasis on their ‘private’ assessment of the situation prior to their actual conversation with the Florentine pilgrim.