A third picture of temptation is furnished by the episode of one of the Sirens who appears first repulsive and then seems to the poet sweet and alluring. Only when Virgil discloses her hideous nature does Dante see how easily he might have fallen a victim to her wiles. He tells us that in his sleep there appeared to him a woman with stammering utterance, squinting eyes, deformed hands. "I gazed at her, and as the sun restores the cold limbs made heavy by night, thus my look loosened her tongue, then straightened her all out in a little while and colored her wan face as love demands. When her speech was thus unbound she began to sing so that I could hardly have turned my attention from her. 'I am,' she sang, 'I am sweet Siren who bewitch sailors by mid-sea, so full am I of charm to hear. By my song I turned Ulysses from his wandering way. And whosoever abides with me seldom departs, so wholly do I satisfy him.' Her lips were not yet closed when a lady, swift and holy, appeared at my side to confound the other. 'O Virgil, Virgil, who is this?' she said proudly; and he advanced with his eyes fixed only on this modest woman." Virgil (Reason called by Conscience) comes to the rescue of the entranced poet and reveals the Siren in all her foul ugliness. At that Dante awakes from his dream more than ever convinced of the evil of sin and its hideousness. (Purg., XIX, 9.)
Our poet, as we said, is firmly convinced that sin will be punished in Hell. But where is Hell? Popular tradition attributing an infernal connection with volcanic phenomena and moved by those passages in Holy Scripture which describe Hell as a place to which the reprobate descend, locates Hell in the interior of the earth. Dante not only follows this tradition for his Hell, but he does what no other writer before or after him ever did—he constructs a Hell with such rare architectural skill that the awful structure stands forth in startling reality, visualized easily as to form an atmosphere, and with a finish of detail that is amazing. Covered by a crust of earth it is situated under Jerusalem and extends in funnel shape to the very center of the earth.
How it got this shape is told by the poet. When Lucifer was hurled from Heaven by the justice of God, he kept falling until he reached the center of earth, whence further motion downward was impossible. At the approach of Lucifer the earth is represented as recoiling and so making the cavity of Hell. The earth dislodged by the cataclysm was forced through an opening, a kind of nozzle of the funnel of Hell, to the antipodes and it there emerged, forming a mountain, which became the site of the Garden of Eden and Purgatory. The phenomenon made land in the northern and water in the southern hemisphere. Here is the description:
"Upon this side he fell down out of heaven
And all the land, that whilom here emerged
For fear of him made of the sea a veil
And came to our hemisphere; and peradventure
To flee from him, what on this side
Left the place vacant here and back recoiled."
(Inf., XXXIV, 121.)
The material structure of the Inferno is a series of nine concentric circles—darkness brooding over the whole region,—with ledges, chasms, pits, swamps and rivers. The rivers, though different in name and aspect, appear to be one and the same stream winding its way through the various circles. We see it first as the boundary of Hell proper and it is known as the Acheron. It comes again to view in the fourth circle and is called the Styx. In the seventh circle, second round, it emerges as the red blood stream of Phlegethon. In the very depths of Hell it forms the frozen lake of Cocytus. The circles of Hell, distant from one another, decrease in circumference as descent is made—the top circle being the widest. Galileo estimates that Dante's Hell is about 4,000 miles in depth and as many in breadth at its widest diameter. Its opening is near the forest at the Fauces Averni, near Cuma, Italy, where Virgil places the site of the entrance of his Inferno.
Dante's Hell in its moral aspect is Aristotelian. Sins are divided into three great classes, incontinence, bestiality and malice. Incontinence is punished in the five upper circles; bestiality and malice in the City of Dis, lower Hell. More particularly stated, Dante's scheme of punishment in the underworld, not considering the vestibule of Hell, where neutrals are confined, is as follows: 1, Limbo; 2, The Circle of Lust; 3, Gluttony; 4, Avarice and Prodigality; 5, Anger, Rage and Fury; 6, Unbelief and Heresy; 7, Violence; 8, Fraud; 9, Treason.
In regard to this plan of punishment three things are to be noted: (a) Though generally following the teaching of St. Thomas Aquinas, here Dante, in his conception of Limbo, differs from his master. Our poet's Limbo, wherein are the souls of unbaptized children and others who died stained with original sin, but without personal grievous guilt, is a much more severe abode than that of the Angelic Doctor. The latter teaches that Limbo is a place or a state, not merely of exemption from suffering and sorrow, but of perfect natural happiness unbroken even by a knowledge of a higher, a supernatural destiny that has never been given. Dante's Limbo, on the other hand, represents the souls in sadness brought about by their constant desire and hope never realizable, of seeing God. They suffer no pain of sense, but they are baffled in their endless yearning for the Beatific Vision. To quote Dante:
"There, in so far as I had power to hear,
Were lamentations none, but only sighs
That tremulous made the everlasting air.
And this arose from sorrow without torment,
Which the crowds had, that many were and great,
Of infants and of women and of men.
To me the Master good: 'Thou dost not ask
What spirits these may be, which thou beholdest?
Now will I have thee know, ere thou go farther,
That they sinned not; and if they merit had,
'T is not enough, because they had not baptism,
Which is the portal of the Faith thou holdest;
And if they were before Christianity,
In the right manner they adored not God;
And among such as these am I myself.
For such defects, and not for other guilt,
Lost are we, and are only so far punished,
That without hope we live on in desire.'"
(IV, 25.)
(b) Our poet represents a soul as punished but for one sin, though it may be guilt-dyed by its having broken all the commandments. Even so, it is placed in one particular circle wherein a certain sin is punished and we are not told that it passes to other circles. In explanation of this we have only to remember that Dante, for our instruction, is showing us object lessons of evil, types of certain sins. Judas, for example, whose name is synonymous with traitor, is exhibited as suffering in the ninth circle, the circle of treason, the poet taking no notice of other sins, v.g., sacrilege, avarice, suicide, of which the fallen apostle may have been guilty. Furthermore, Dante as a master psychologist and moralist would teach us the lesson that the evil doer may come to damnation through one sin if that acquires such an ascendency over his will as to become a capital sin or predominant passion of his life. Then the besetting passion is the father of an innumerable progeny of evil. This is seen (Purg., XX, 103) in the case of Pygmalion, whose predominant passion, avarice, made him a traitor, a thief and a parricide.