Quote 1
And almost where the hillside starts to rise –
look there! – a leopard, very quick and lithe,
a leopard covered with a spotted hide.
He did not disappear from sight, but stayed;
indeed, he so impeded my ascent
that I had often to turn back again…
…and the gentle season
gave me good cause for hopefulness on seeing
that beast before me with his speckled skin;
but hope was hardly able to prevent
the fear I felt when I beheld a lion.
His head held high and ravenous with hunger –
even the air around him seemed to shudder –
this lion seemed to make his way against me.
And then a she-wolf showed herself; she seemed
to carry every craving in her leanness;
she had already brought despair to many. (Inf. I, 31-51)
The very fact that these three beasts – all predators – block Dante’s path towards the light of morning (allegory for the road the God) suggests their evilness and implies the inhuman nature of sin. In traditional interpretations, the leopard represents lust, the lion pride, and the she-wolf avarice; all of these sins illustrate the concept of incontinence or the inability to restrain one’s baser emotions with reason.
Quote 2
Here sighs and lamentations and loud cries
were echoing across the starless air,
so that, as soon as I set out, I wept.
Strange utterances, horrible pronouncements,
accents of anger, words of suffering,
and voices shrill and faint, and beating hands –
all went to make a tumult that will whirl… (Inf. III, 22-28)
The bestiality of the damned comes across in Dante’s very first impressions of Hell. Right after he crosses the Hellgate, he is assaulted by a cacophony of meaningless sounds, all made by the sinners, but not spoken in words or articulated in any comprehensible way. This suggests the sinners have, to some extent, lost their capacity for language – the defining quality of humans – and are thus no longer human, but animal.
Quote 3
And as, in the cold season, starlings’ wings
bear them along in broad and crowded ranks,
so does that blast bear on the guilty spirits:
now here, now there, now down, now up, it drives them.
There is no hope that ever comforts them –
no hope for rest and none for lesser pain.
And just as cranes in flight will chant their lays,
arraying their long file across the air,
so did the shades I saw approaching, borne
by that assailing wind, lament and moan; (Inf. V, 40-49)
Not only are the lustful souls described with bird imagery, but they are powerless to their feelings of love and lust – as symbolized by their helplessness against the wind. This indicates a lack of control over their emotions, a lack of rationality to stem impulses like sexual lust, and thus an inherent lack of humanity. Because of this inability to control their emotions, they are considered animal, not human.
Quote 4
They were all shouting: "At Filippo Argenti!"
At this, the Florentine, gone wild with spleen,
began to turn his teeth against himself. (Inf. VIII, 61-63)
After being violently rejected by Dante and called a "dog" by Virgil, Filippo Argenti goes mad and, unable to contain his rage, turns his wrath upon himself. His behavior seems distinctly bestial because only animals turn to as visceral a punishment as biting when enraged; for the most part, humans do not.
Quote 5
And at the edge above the cracked abyss,
there lay outstretched the infamy of Crete,
conceived within the counterfeited cow;
and, catching sight of us, he bit himself
like one whom fury devastates within.
Turning to him, my sage cried out:…
"Be off, you beast; this man who comes has not
been tutored by your sister; all he wants
in coming here is to observe your torments."
Just as the bull that breaks loose from its halter
the moment it receives the fatal stroke,
and cannot run but plunges back and forth,
so did I see the Minotaur respond; (Inf. XII, 11-25)
Not only is the Minotaur the unnatural spawn of man and animal, a "counterfeited cow," but it acts on animal impulses, biting itself, rearing in rage, and charging its offenders. It is no coincidence that Dante describes its movements as those of a haltered bull.
Quote 6
Then Chrion wheeled about and right and said
to Nessus: "Then return and be their guide;
If other troops disturb you, fend them off."
Now with our faithful escort, we advanced
along the bloodred, boiling ditch’s banks,
beside the piercing cries of those who boiled.
I saw some who were sunk up to their brows,
and that huge Centaur said: "These are the tyrants
who plunged their hands in blood and plundering.
Here they lament their ruthless crimes; here are
both Alexander and the fierce Dionysius,
who brought such years of grief to Sicily." (Inf. XII, 97-108)
Here in the circle of the violent, the beastly figures (Centaurs – half man, half horse) prove to be more human than the human sinners. While the Centaurs speak coherently, the sinners only give out "piercing cries." Surprisingly, the Centaurs – despite their reputation of senseless violence – show mercy to Dante and Virgil, even providing them with a guide to protect them.
Quote 7
He threw the sinner down, then wheeled along
the stony cliff: no mastiff’s ever been
unleashed with so much haste to chase a thief. (Inf. XXI, 43-45)
Already inhuman by nature, this demon confirms bestiality when his savagery towards the struggling sinner spurs Dante to compare him to a fierce guard dog, a mastiff. His "unleashed" behavior suggests that, like the incontinent sinners, the demon is unable to contain his baser instincts.
Quote 8
As I kept my eyes fixed upon those sinners,
a serpent with six feet springs out against
one of the three, and clutches him completely.
It gripped his belly with its middle feet,
and with its forefeet grappled his two arms;
and then it sank its teeth in both his cheeks;
it stretched its rear feet out along his thighs
and ran its tail along between the two,
then straightened it again behind his loins.
No ivy ever gripped a tree so fast
as when that horrifying monster clasped
and intertwined the other’s limbs with its.
Then just as if their substance were warm wax,
they stuck together and they mixed their colors,
so neither seemed what he had been before; (Inf. XXV, 49-63)
The thieves’ punishment of being transformed into hideous beasts (like "a serpent with six feet") reflects their lack of respect for boundaries. Because in life, they did not recognize other people’s property as off limits, they are punished with a violation of their own physical boundaries; they must become one another, sticking together and "mix[ing] their colors" like "warm wax." Dante considers the ability to distinguish between one’s property and another’s a purely human one, not recognized by beasts; thus, by failing to respect boundaries, the thieves forfeit their humanity and become beasts, both physically and spiritually.
Quote 9
…his tongue, which had before been whole and fit
for speech, now cleaves; the other’s tongue, which had
been forked, now closes up; and the smoke stops.
The soul that had become an animal,
now hissing, hurried off along the valley;
the other one, behind him, speaks and spits…
…"I’d have Buoso run
on all fours down this road, as I have done." (Inf. XXV, 133-141)
This passage illustrates, in a very visceral way, Dante’s idea that language is a purely human phenomenon. The thief that mutates into a snake has his tongue split in two so that it is no longer "fit / for speech" and can only hiss as he slithers away. The sinner who has exchanged his serpent form for a human one, however, now possesses a whole tongue and commences to speak articulately.
Quote 10
When Juno was incensed with Semele
and thus, against the Theban family
had shown her fury time and time again,
then Athamas was driven so insane
that, seeing both his wife and their two sons,
as she bore one upon each arm, he cried:
"Let’s spread the nets, to take the lioness
together with her cubs along the pass";
and he stretched out his talons, pitiless,
and snatched the son who bore the name Learchus,
whirled him around and dashed him on a rock;
she, with her other burden, drowned herself.
And after fortune, turned against the pride
of Troy, which had dared all, so that the king
together with his kingdom, was destroyed,
then Hecuba was wretched, sad, a captive;
and after she had seen Polyxena
dead and, in misery, had recognized
her Polydorus lying on the shore,
she barked, out of her senses, like a dog –
her agony had so deformed her mind.
But neither fury – Theban, Trojan – ever
was seen to be so cruel against another,
in rending beasts and even human limbs,
as were two shades I saw, both pale and naked,
who, biting, ran berserk in just the way
a hog does when it’s let loose from its sty.
The one came at Capocchio and sank
his tusks into his neck so that, by dragging,
he made the hard ground scrape against his belly.
And he who stayed behind, the Arentine,
trembled and said: "That phantom’s Gianni Schicchi
and he goes raging, rending others so." (Inf. XXX, 1-33)
In the first two mythological anecdotes, Dante suggests that certain uncontrollable emotions – while rendering one bestial – are appropriate in context and may even be worthy of pity from an onlooker. Athamas, driven to madness by the gods, and Hecuba, howling like a dog for her murdered children, inspire compassion in readers, and rightly so. However, Gianni Schicchi – attacking others in the midst of his maniacal rage – does little to move readers to see him in a favorable light. Indeed, his animalistic attributes (his tusks), unlike Hecuba’s pathetic howl of grief, are menacing and even make his fellow shades "tremble" in fear.
Quote 11
No clamp has ever fastened plank to plank
so tightly; and because of this, they butted
each other like two rams, such was their fury.
And one from whom the cold had taken both
his ears, who kept his face bent low, then said:
"Why do you keep on staring so at us?
If you would like to know who these two are:
that valley where Bisenzio descends,
belonged to them and to their father Alberto.
They came out of one body; and you can
search all Caina, you will never find
a shade more fit to sit within this ice – (Inf. XXXII, 49-60)
These two brothers, whose fury against each other rages so intensely that they "butted each other like two rams," have lost themselves so much in their anger that someone else must speak for them, in order to identify them. Both have given in so much to their animal natures that they have forsaken the human gift of language.
Quote 12
These wretched ones, who never were alive,
went naked and were stung again, again
by horseflies and by wasps that circled them.
The insects streaked their faces with their blood,
which, mingled with their tears, fell at their feet,
where it was gathered up by sickening worms. (Inf. III, 64-69)
The neutrals are, arguably, the least natural of all the sinners, because they "never were alive" or, in Dante’s definition of living, never made the fundamental human distinction between good and evil. Paralyzed by their fear, they never chose to serve either good or evil, thus missing out on both the joys and misfortunes of life. For their cowardice, Nature itself turns against them and her lowest ranks – insects – punish them.
Quote 13
No green leaves in that forest, only black;
no branches straight and smooth, but knotted, gnarled;
no fruits were there, but briers bearing poison.
Even those savage beasts that roam between
Cecina and Corneto, beasts that hate
tilled lands, do not have holts so harsh and dense. (Inf. XIII, 4-9)
In the ring where the suicides reside, not even nature’s growing flora can flourish. Here, trees and plants that normally sprout in healthy shades of green rot to black and do not sprout nourishing fruits, but poisoned thorns. The reference to the living "beasts" between "Cecina and Corneto" implies that even these savage creatures could not survive in such a place. Nature decrees that nothing can live and grow in a place where men have taken their own lives.
Quote 14
Above that plain of sand, distended flakes
of fire showered down; their fall was slow –
as snow descends on alps when no wind blows.
Just like the flames that Alexander saw
in India’s hot zones, when fires fell,
intact and to the ground, on his battalions,
for which – wisely – he had his soldiers tramp
the soil to see that every fire was spent
before new flames were added to the old;
so did the never-ending heat descend;
with this, the sand was kindled just as tinder
on meeting flint will flame – doubling the pain. (Inf. XIV, 28-39)
The environment designed for punishing blasphemers perverts nature by raining fire, instead of snowflakes, to the ground. So instead of bringing relief to the sandy desert and allowing things to grow, the fiery rain increases the heat, making it eternally uncomfortable for the sinners trapped there.
Quote 15
[Dante to Pope Nicholas III]: "I’d utter words much heavier than these,
because your avarice afflicts the world:
it tramples on the good, lifts up the wicked.
You, shepherds, the Evangelist had noticed
when he saw her who sits upon the waters
and realized she fornicates with kings,
She who was born with seven heads and had
the power and support of the ten horns,
as long as virtue was her husband’s pleasure.
You’ve made yourselves a god of gold and silver;
how are you different from idolaters,
save that they worship one and you a hundred?" (Inf. XIX, 103-113)
In condemning the simonists, Dante paints their practices as highly perverted and unnatural. Here, "she who was born with seven heads" is pagan Rome, blessed by seven heads (representing the seven sacraments) and supported by "ten horns" (the ten commandments). Dante’s message: the Catholic Church (represented by the female Rome) only has power as long as her rich husbands, the "kings" with whom she "fornicates," decide to remain virtuous. When they disagree with the Church, they withdraw their financial support and the Church loses influence. To emphasize the Church’s corruption, Dante pictures her as a hideous monster with a writhing gaggle of seven heads, ten horns, and the rampant lust to "fornicate" with any rich man who comes her way. Not only does this undermine the spiritual purity for which the Church stands, degrading God to a material idol of "gold and silver," but also usurps the natural order of good over evil. As Dante puts it, such simony – the selling of the Divine Word for gold and silver – "tramples on the good" and "lifts up the wicked."
Quote 16
As I inclined my head still more, I saw
that each, amazingly, appeared contorted
between the chin and where the chest begins;
they had their faces twisted towards their haunches
and found it necessary to walk backward,
because they could not see ahead of them. (Inf. XX, 10-15)
For claiming the superhuman (and thus unnatural) power of seeing the future, the magicians, diviners, and astrologers are subjected to an inversion of their natural form. Their faces, instead of gazing forward, are reversed on their shoulders so that they must face and walk backwards. Their sight has literally been reversed so that their sense of direction (and, possibly, time) is backwards.
Quote 17
When I had journeyed half of our life’s way,
I found myself within a shadowed forest,
for I had lost the path that does not stray.
Ah, it is hard to speak of what it was,
that savage forest, dense and difficult,
which even in recall renews my fear:
so bitter – death is hardly more severe!
But to retell the good discovered there,
I’ll also tell the other things I saw.
I cannot clearly say how I had entered
the wood; I was so full of sleep just at
the point where I abandoned the true path. (Inf. I. 1-12)
From this opening passage, one can see that the nature of sin (or "abandon[ing God’s] true path") is inherently treacherous because its path is "shadowed," "savage," "dense and difficult." As a road overcast with darkness, it limits Dante’s sight, both literally and metaphorically, making it difficult for him to ‘see’ the boundary between good and evil. Dante has already been tricked into his present predicament because he "cannot clearly say how [he] entered / the wood." Sin – deceptively innocuous at this point – has only made Dante "full of sleep," so that he cannot remember when he strayed off the straight road to God.
Quote 18
Then, as if penitent for my omission,
I said, "Will you now tell that fallen man
his son is still among the living ones;
and if, a while ago, I held my tongue
before his question, let him know it was
because I had in mind the doubt you’ve answered." (Inf. X, 109-114)
Dante, unlike the sinners, repents of his lie and contritely reveals the truth. His sense of shame, readers feel, is well-deserved because he has fallen to the spiteful level of the sinners. And it takes a conversation with a so-called "noble sinner, Farinata, to bring Dante to his senses.
Quote 19
Faced with that truth which seems a lie, a man
should always close his lips as long as he can –
to tell it shames him, even though he’s blameless;
But here I can’t be still; and by the lines
of this my Comedy, reader, I swear –
and may my verse find favor for long years –
that through the dense and darkened air I saw
a figure swimming, rising up, enough
to bring amazement to the firmest heart,
like one returning from the waves where he
went down to loose an anchor snagged upon
a reef or something else hid in the sea,
who stretches upward and draws in his feet. (Inf. XVI, 124-136)
Right as Dante is about to enter the circles of fraud, reality begins to blur, playing with his sense of truth. This monster which arises from the depths is so unbelievable that it is a "truth which seems a lie." Dante struggles with the idea of not discussing it, for that would be akin to lying; but in the end, he gives in. Interestingly, to justify his description, he "swear[s]" on the truth of his words by "the lines / of this my Comedy." In other words, he’s swearing on himself, which is not only circular but also invalid. So, Dante is either showing signs of excessive pride or is buying into the deception of the fraudulent realms. To compound his deceit, Dante uses a simile (a way of describing something by comparing it to something it’s NOT) of a diver to describe the rising monster.
Quote 20
And he came on, that filthy effigy
of fraud, and landed with his head and torso
but did not draw his tail onto the bank.
The face he wore was that of a just man,
so gracious was his features’ outer semblance;
and all his trunk, the body of a serpent;
He had two paws, with hair up to the armpits;
his back and chest as well as both his flanks
had been adorned with twining knots and circlets.
No Turks or Tartars ever fashioned fabrics
more colorful in the background and relief,
nor had Arachne ever loomed such webs.
As boats will sometimes lie along the shore,
with part of them on land and part in water,
and just as there, among the guzzling Germans,
the beaver sets himself when he means war,
so did that squalid beast lie on the margin
of stone that serves as border for the sand.
And all his tail was quivering in the void
while twisting upward its envenomed fork,
which had a tip just like a scorpion’s. (Inf. XVII, 7-24)
Geryon, as Dante so poetically claims, is a "filthy effigy / of fraud." Not only does his form combine the features of a man, a snake, a scorpion, and a random animal – as if he cannot choose what he wants to be – but his entire hide is gaudily adorned with "twining knots and circlets" of many colors and patterns. Ostentatiously beautiful on the surface, Geryon is a monster within. And just as he crosses the line between truth and fiction, he lies "along the shore, / with part of [him] on land and part in water," not truly a fish nor a beast of the land. The final simile comparing Geryon to a beaver cements readers’ impressions of him as devious. He hangs his tail seductively over the void, just as a beaver uses its tail as a lure to tempt fish into approaching and then kills them for food.