Some believe that there are other princes of hell that would come feel: Mammon (Prince of hell and demon of greed)
"Mammon", also known as Mammon or Ammon is one of the demons related to the 7 deadly sins. He was a cherub who followed Lucifer as one of his main lieutenants in the rebellion of the angels.
Asmodeus or Asmodeo (Prince of Hell and demon of lust)
Asmodeus (Asmodai, Sydonai, Chammadai, Asmodeo, or Asmodaeus) is a demon, commonly known to appear in the Book of Tobit or Book of Tobias, which is not part of the Protestant or Jewish Old Testament, but is part of the Catholic canon. He is also mentioned in the Talmud and in demonology treatises. The origin of it is found in the Mazdean religion (Zoroastrianism) of the Persians. He probably came to Judaism during the time that this people was under Persian rule (6th century BC), and later, it would pass to Christianity, but it was in the ancient era apparently in the 2nd century BC. Asmodeus is one of the greater demons, and thus was once angelic in nature.
Leviatán (Prince of Hell and demon of Envy)
Leviathan is the terror of every sailor since the beginning of time along with the Kraken. This beast appears in the Old Testament, although it quite possibly has a more ancient and primitive origin. He is currently associated with the fact that he was a Seraphim until he followed Lucifer and fell from heaven.
Beelzebub (Prince of Hell and demon of Glotonery)
Beelzebub (Hebrew: בַּעַל זְבוּב, Baʿal Zəvûv; Arabic: بعل الذباب, Ba'al adh-Dhubāb) also known as "Lord of the flies" or "lord of the dwelling (heavenly"). Beelzebub is one of the seven princes of Hell and the one who represents the capital sin of gluttony. His name derives from Ba 'al Zebûb, a derogatory term that the Hebrews used to mock the fact that the temples where he was worshiped were full of flies, insects that fed on sacrificial meat that was not collected and allowed to rot. inside the temple.
Satán (Prince of Hell and demon of Wrath)
Satan (Hebrew: שָּׂטָן satan, "adversary"; Arabic: شيطان shaitan, "wayward", "distant" or sometimes "devil") is a figure that appears in the texts of the Abrahamic religions who brings evil and temptation, being known as a trickster who leads humanity to the worst path. Some religious groups teach that he was originally an angel who lost God's favor, seducing humanity with sin.
Belphegor (Prince of Hell and demon of Sloth)
Belphegor is one of the so-called "Seven Princes of Hell." He is the demon who embodies the vice of laziness and all the behaviors that arise from it. In this way, Belphegor tempts men by inducing them to conformity, to paralysis alien to all personal improvement; Or, while he is also a demon associated with discoveries and ingenious inventions, Belphegor tempts men endowed with ingenuity by implanting in their minds ideas of inventions through which they can obtain easy and abundant riches to the detriment of what they suggest justice and honesty.
In fact I wonder ... what is the rest of hell like ?; I mean if the other princes of hell exist. How will the rest of hell be, if it is divided into rings or circles as in Hazbin Hotel where it is divided according to the deadly sins or the Divine Comedy where Hell is divided into nine circles
Context of the Divine Comedy for those who have not read Dante Alighieri's divine Comedy: In the Divine Comedy we follow Dante, Virgilio and Beatrice. Dante and Virgilio still travel through Hell, Purgatory and Paradise.
Hell hall:
The poem begins the day before Good Friday, in the year 1300. The narrator, Dante Alighieri, is thirty-five years old, and therefore is "halfway through life" (Nel mezzo del cammin di nostra vita) —Half the life expectancy of seventy years according to the Bible (Psalm 90:10). The poet finds himself lost in "a dark forest" and is attacked by three beasts, a lion, a leopard (lonza in Italian that can also refer to a panther or a lynx), and a she-wolf, whom he cannot evade. and he is unable to find the "straight path" (diritta via) to salvation. These animals are an allegory of pride, lust and greed, three deadly sins. Aware that he is hurting himself and that he is falling into a "deep place" (basso loco) where the sun is silent (l sol tace), Dante is finally rescued by the Roman poet Virgil. The two begin a journey to the afterlife world (Canto I). Each punishment in Hell is by contrast, a representation of poetic justice; for example, fortune tellers must walk with their heads turned upside down, unable to see what is in front of them, a result of always trying to see the future.
Dante passes through the gate of hell, which has an inscription whose text reads: «It is for me that he goes to the city of tears, it is for me that he goes to eternal pain and to the place where the condemned race suffers, I I was created by the divine power, the supreme wisdom and the first love, and there was nothing that existed before me, give up hope if you enter here ». Before fully entering hell, Dante and his guidance see those who never made a commitment, the souls of those who never did something good or bad (among them, Dante recognizes Celestino V, a pope who resigned from office) . With them are the exiles who did not take part in the rebellion of the angels. These souls are neither in Hell nor outside it, but they reside on the shores of the Acheron. Their punishment is to eternally chase a blank flag while being attacked by bees and wasps that continually sting them while worms and other insects suck their blood and tears. This punishment is due to the fact that in life they were not able to champion any cause; now they must run behind an empty banner and not for their own motivation, but to avoid being stings by bees. Like Purgatory and Paradise, Hell has a structure of 9 + 1 = 10, since it has a "vestibule" of a different nature than the other nine circles that compose it, from which the Acheron separates it.
After crossing the hall, Dante and Virgilio arrive at the boat that will allow them to cross the Acheron and reach hell proper. The one who drives the boat is Charon, who, knowing that Dante comes from the world of the living, refuses to let him pass. Virgilio, however, forces him to agree by pronouncing the phrase Vuolsi così colà ove si puote ("that's how it was arranged where you have authority"), indicating that Dante's journey is desired by God. The protests and blasphemies of condemned souls fill the atmosphere (Canto III). However, the poet loses consciousness and the crossing of the river itself is not described in his poem (Canto IV).
Next, Virgil guides Dante through the nine circles of Hell, which are concentric, representing the progression of the gravity of punished sin, and culminate in the center of the Earth, where Satan is a prisoner. Sinners in each circle are punished with eternal penalties, but those who repented and prayed before dying find themselves in Purgatory, where they must atone for their guilt. In Hell are those who justified their sins and did not repent.
In an allegorical sense, the three beasts represent the three types of sins: self-indulgence, violence, and wickedness, 1 which is of importance as it determines the structure of the place, so that the upper Hell (the first five circles ) correspond to sins of self-indulgence, the sixth and seventh to those characterized by violence, and the eighth and ninth to those marked by perversity.
Limbo:
In limbo are the unbaptized and the virtuous pagans who, despite not being sinners, did not know Christ. These sinners are not actually tormented, but they are still condemned since they are separated from God, with no hope of reconciliation with Him. Limbo shares many characteristics with the Greek asphodel meadows; "a neutral place, neither good nor bad, where these people will be forever wishing God but never being able to have him." 2 Limbo includes green meadows and a castle, the place where the wisest men of old are, including Virgil himself, as well as Islamic philosophers such as Averroes and Avicenna. In this castle, Dante meets the poets Homer, Horace, Ovid, and Lucan, the Amazon queen Penthesilea, the mathematician Euclid, the philosophers Socrates, Plato, and Aristotle, and many others, including Caesar in his role as general of Rome. ("Caesar in arms, predatory eyes" 3). Interestingly, Dante also meets Saladin in limbo (Canto IV). Dante implies that all virtuous non-Christians are in that place, although later he meets two (Cato of Utica and Statius) in Purgatory and two others (Trajan and Rifeus) in Paradise.
After this first circle, all those condemned for "active" sins, that is, who have deliberately sinned by harming someone, are judged by Minos, who sentences each soul and assigns it its place, winding his tail around himself as many turns as circles should descend. The deeper circles are structured according to the classical (Aristotelian) conception of vice and virtue. They are grouped according to the sins of incontinence, violence, and fraud (represented, according to various commentators, by the leopard, the lion, and the she-wolf, respectively). The sins of incontinence, that is, the inability to control one's desires and instincts, are punished first, while violence and fraud appear later.
Lust:
In the second circle of Hell are those who have sinned in lust. Dante condemns these "carnal malefactors" 4 for letting their appetites overwhelm their reason. They are the first to be truly punished in Hell. These souls are condemned to be impelled by a strong wind that hits them against the ground and walls, shakes them and makes them collide with each other without rest, in the same way that in life they were carried away by the winds of passion.
In this circle, Dante meets Semiramis, Dido, Cleopatra, Helena, Achilles, Paris, Tristan, and many others who did not control sexual love during his life. Francesca de Rimini tells Dante how she and her brother-in-law Paolo committed adultery, and then died violently, in the name of Love, at the hands of her husband, Gianciotto Malatesta. Francesca tells Dante that her act of adultery was inspired by the history of Lanzarote and Geneva (an episode sculpted by Auguste Rodin in The Kiss). However, she believes that her husband will be punished for fratricide in Caína, in the Ninth Circle (Canto V), to which Dante seems sad. since for him, love is a very pure force. and he doesn't understand how something so evil and tragic can be at the same time.
Gluttony:
Recovering his consciousness, the poet finds himself in the third circle, where those condemned for the sin of gluttony are punished with the penalty of being beaten by a very strong cold rain mixed with thick hail, and deafened by the terrible barking of Cerberus, that also tears them with nails and teeth. Among those unfortunates he finds Ciacco.
Greed:
Those whose attitude towards material goods deviated from the inappropriate mean are punished in the fourth circle. Here are condemned the greedy, who accumulated possessions, and the prodigal, who squandered them. Both groups push heavy weights across the circle, but each in the opposite direction. When they meet, colliding, they insult each other. Some reproach: "Why do you hoard?", The others: "Why do you waste?". Then each group turns around to go around the circle in the opposite direction, until they collide with the other again.
The contrast between these two groups, Virgil leads to the discourse on the nature of fortune, which resurrects nations to greatness, and then plunges them into poverty, as she trades "those empty products from nation to nation, clan to clan. . ", expression fills what would otherwise be a gap in the poem, as both groups are so engrossed in their activity that Virgil tells Dante that it would be useless to try to talk to them - in fact, they have lost their individuality, and become "unrecognizable" (Canto VII).
Wrath and Sloth:
The souls of the wrathful are mired in the hideous and swampy Styx Lagoon. Enraged, they hit each other, and bite to pieces while drowning in its infectious waters. Under the water and sunk in the mud, are the souls of the acidic. Reluctantly, Phlegias transports Dante and Virgil on his boat across the Styx. On the way a condemned person speaks to them, Filippo Argenti, a black guelf from a prominent family, who in his lifetime ran over anyone who crossed his path with his horse-drawn carriage. Offended after seeing Dante's reaction to seeing him, Filippo tries to submerge Dante into the waters of the Styx, but Virgil quickly pushes him, returning him to the infected waters and hitting himself in a tantrum at his failure. When Dante responds "with crying and mourning stay, accursed spirit," 5 Virgilio kisses him. Literally, this shows the fact that the souls in Hell are eternally fixed in the state they chose but, allegorically, it reflects how Dante is "infected" by the sin of anger6 (Cantos VII and VIII).
The lower parts of Hell are within the confines of the city of Dite, which in turn is surrounded by the lagoon. The punished within Dite are active (not passive) sinners. The walls of Dite are guarded by fallen angels. Virgilio fails to convince them to let him go with Dante and the Erinyes and Medusa threaten Dante. An angel sent from Heaven lets them enter, opening the door when touched by a rod. Allegorically, this reveals the fact that the poem is beginning to deal with sins that neither philosophy nor humanism can fully understand6 (Cantos VIII and IX).
Heretics:
En el sexto círculo, los epicúreos, quienes negaron en vida la inmortalidad del alma, están condenados a yacer en flamígeros sepulcros destapados. Dante habla con un epicúreo florentino, Farinata degli Uberti, un gibelino (condenado póstumo por herejía en 1283); y Cavalcante dei Cavalcanti, un güelfo y padre de Guido Cavalcanti, amigo de Dante y poeta. Las afiliaciones políticas de estos dos hombres crean una discusión sobre la política florentina (Canto X).
En respuesta a una pregunta de Dante sobre la profecía que recibió, Farinata explica que el alma en el Infierno puede ver el futuro pero no el presente. En consecuencia, cuando "se aproximan o son",7 es todo en vano su intelecto.
Violence:
Outer ring: Those who have been carried away by violence against their neighbor (murderers and tyrants), sunk in the boiling river of blood called Phlegeton, are punished, guarded by the centaurs armed with bows and arrows.
Middle ring: In this ring are the suicides (those who are violent against themselves) who, transformed into gnarled trees, are pecked and torn by Harpies that nest there. When the day of the Final Judgment has arrived, this class of souls, instead of putting on their bodies when recovering them, will hang them from their branches, since it would be unfair to have again what one has voluntarily taken off. Dante, when breaking a branch and beginning to bleed, hears a voice, that of Pier della Vigna, who committed suicide after losing the confidence of Frederick II (his presence of him here, indicates that Dante believes that the accusation towards him is totally false9). The crooked trees are a metaphor for the suicidal state of mind.10 The other residents of the ring are the spenders, who destroyed their lives by destroying what they held of value (for example, money and property). They are perpetually hunted and bitten by ferocious dogs (Canto XIII).
Inner ring: Here are the violent against God (blasphemers) and the violent against nature (sodomites and, as explained in the sixth circle, usurers), who are in a burning desert of sand with a shower of flames. The blasphemers are lying in the sand, the usurers are seated, and the sodomites roam in groups. Dante talks to two Florentine Sodomites from different groups. One of them is Dante's mentor, Brunetto Latini. Dante is very surprised and touched by the encounter and shows great respect for his "teacher" ("you taught me how man is immortalized: / and how much gratitude I have for this, as long as I live, / it is necessary that my tongue discerns it." 11 ), This refutes the idea that Dante only puts his enemies in Hell.12 The other Sodomites are Jacopo Rusticucci, a politician, who blames his wife for his fate. Those punished for usury include the Florentines Catello di Rosso Gianfigliazzi, Ciappo Ubriachi, and Giovanni di Buiamonte; to Paduans Reginaldo degli Scrovegni and Vitaliano di Iacopo Vitaliani. They are identified not by name but by the shield stamped on the bags around the neck - purses with which "their eyes seemed to delight" 13 (Cantos XIV to XVII).
Fraud and Corruption:
In the last circles of Hell, sins related to conscientious fraud or treason are punished. These circles can only be reached by descending a great cliff, which Dante and Virgilio make on the back of Geryon, a winged monster traditionally represented with three heads or with three joined bodies, 14 but described by Dante with three different natures: human, bestial and reptilian.14 Geryon is the image of fraud, with a face that looks like an honest man, his body beautifully colored, but with a poisonous tip on his tail15 (Canto XVII).
The fraudulent deliberately, knowing the evil they cause, are located in a place called Malebolge ("Bad graves"), divided into ten Bolgias linked by bridges:
First enclosure: Ruffians (pimps and seducers) march in separate lines in opposite directions, beaten by demons (Dante here refers to the Jubilee traffic of the year 1300 in Rome: keeping to the right16). Since the ruffians and seducers used the passion of others to lead them where they wanted, they are now led by demons to march for eternity.16 In the group of pimps, the poet distinguishes Venedico Caccianemico, who, defeated by the money and greed, he sold the honor of his own sister Ghisola to the Marquis Obizzo II of Este, lord of Ancona, Ferrara, Modena and Reggio Emilia. In the group of seducers, Virgilio and Dante meet Jason, the captain of the Argonauts, who obtained the help of Medea by seducing her and marrying her, only to later leave her for Creusa.16 Jason also seduced Hypsipila, but "her she left, alone and pregnant "17 (Canto XVIII).
Second enclosure: Flatterers, who are described in low and vulgar language. They are immersed in human excrement, representing the words they produced.16 Dorothy L. Sayers, who worked in the propaganda industry, comments "Dante did not live to see the development of political propaganda, commercial advertising, and tabloid journalism. , but he prepared a special place for them "16 (Canto XVIII).
Third enclosure: Dante here expresses18 his condemnation of those who committed simony. They are placed head down (as in the baptismal font), with flames burning their feet. One of the simoniacs, Pope Nicholas III, denounces two of his successors, Boniface VIII and Clement V, for the same offense. The similarity to the baptismal font gives Dante the opportunity to clear his name from the charge of intentional damage to the font in the church of San Giovanni dei Fiorentini19 (Canto XIX).
Fourth enclosure: Sorcerers, astrologers, and false prophets have their heads facing backwards.20 Since they wanted to see ahead without looking at the present, now they are forced not to be able to see ahead, only backwards.21 In this Bolgia, Dante sees Anfiarao, Tiresias, Miguel Escoto, and Guido Bonatti, among others (Canto XX).
Fifth Precinct: Corrupt politicians are steeped in boiling pitch, representing the dirty fingers and dark secrets of their corrupt dealings.22 The scoundrels are the political analogues of the simoniacs, and Dante dedicates several songs to them. They are guarded by devils called Malebranche (malaysians), who provide a savage and satirical black comedy. The leader of the Malebranche, Malacoda, assigns a troop to Virgilio and Dante to take them to the next Bolgia. The promise of a safe conduct to the poets turns out to be a lie, since the demons are taking advantage of them (and there is no "next bridge" 23), and then the poets are forced to climb towards the sixth Bolgia. (Canto XXI to XXIII).
Sixth Precinct: In the sixth Bolgia, the poets meet the hypocrites, who wear apparent golden cloaks that turn out to be lead, so that they walk bent under their weight. Its falsehood is symbolized by contrasting the golden appearance that the hypocrites show, with an ignoble interior, burdened by bad thoughts. Dante speaks with Catalano and Loderingo, two Gaudentes friars, an order that had acquired a reputation for not living up to their vows, 23 and which was eventually suppressed by Pope Sixtus V. A particular subcategory of hypocrites is represented by the members of the Sanhedrin, who put Christ to death "for the benefit of all the people", but causing the ruin of the Jews: with evident counter-balance they are crucified on the ground, in the middle of the road, so that the hypocrites who walk along the circle they step on them.
Seventh enclosure: Two songs are dedicated to the thieves, who are guarded by the fire-breathing centaur Cacus (in Roman mythology, Cacus was not a centaur, but a fire-shooting monster killed by Heracles). Thieves are chased and bitten by snakes. The horror of the thieves' punishment is revealed little by little: just as they stole the substance of other people while they were alive, here they are subjected to the theft of their own identity, 24 and when bitten by a snake they undergo a transformation. Vanni Fucci is turned to ashes and revived, Agnello mixes with the six-legged reptile that is Cianfia, and Buoso's changes form Francesco's four legs: "The soul that had become fierce / whistling flees through the valley, / and the other behind him speaking spits. "25 (Cantos XXIV and XXV).
Eighth enclosure: In the eighth Bolgia, fraudulent advisers are punished, who are clad in a flame that burns them. Odysseus and Diomedes are here condemned for the deception of the Trojan horse. Ulysses also tells the story of his final and last journey (an invention of Dante), where he left his home and family to reach the end of the Earth, being that he sank along with his men upon arrival. to the mount of Purgatory. Soon after, Count Guido da Montefeltro recounted his advice to Pope Boniface VIII to capture the Palestrina fort, offering the Colonna family inside a false armistice, and razing the ground when they surrendered. Guido became a Franciscan in 1296, and died two years later. Guido describes how Saint Francis came to take his soul to Heaven, but a demon first asked for his soul. Despite the fact that Bonifacio absolved him of his sins, Dante highlights the invalidity of this, since absolution requires repentance and a man cannot be forgiven for a sin, at the same time that he wishes to commit it26 (Cantos XXVI and XXVII).
Ninth Precinct: In the ninth Bolgia, demons armed with swords in their hands divide those who divided people in life.27 As their wounds heal, the demons hurt them again. Dante meets Muhammad, who tells him to watch out for the schismatic and heretical Friar Dolcino. Dante describes Muhammad as a schismatic, 27 28 who saw Islam as a branch of Christianity, and in a similar way Dante seems to condemn Ali for the division between Sunnis and Shiites. In this Bolgia, Dante also meets Bertran de Born, who carries his head in his hand, as punishment for (Dante believes) fomenting the rebellion of Henry the Younger against his father Henry II (Cantos XXVIII and XXIX).
Precinct 10: In the last Bolgia, there are various kinds of forgers (alchemists, forgers, perjuries, and imitators), who are sick.29 Potiphar's wife is mentioned here for her false accusation of Joseph, as is Sinon, the Greek spy who tricked the Trojans into letting the Trojan horse into the city. In her translation notes, Dorothy L. Sayers remarks that the descent through
Traitors:
The ninth circle is surrounded by classical and biblical giants, who perhaps symbolize the pride and other spiritual defects that lie behind acts of betrayal.30 The giants are lying on the ground and thus can be seen from above. Among them are Nimrod and Ephialtes, who with his brother Otus tried to defeat Olympus. The giant Anteo is in the well that forms the ninth circle (Canto XXXI).
Traitors differ from "simple" fraudulent individuals by the fact that their actions involve deceiving someone with whom they have a special relationship. There are four concentric zones (or "rounds") of traitors, corresponding, in order of seriousness, to betrayals towards a relative, towards someone with community ties, towards guests, and towards the feudal lord. In contrast to the popular image of Hell as fiery, the traitors are frozen in a lake of ice known as Cocytus, where each group is embedded in ever greater depths.
Round 1 is called Caina, the name comes from Cain, who killed his brother. The traitors of their own relatives are immersed in ice up to their faces - "as far as the blush goes, / were the mourning shadows in the frost" 31 Mordred, who attacked King Arthur, is one of the traitors found here: "nor that of the one whose chest and shadow were broken / with it, with a blow from Arturo's hand;" 32 (Canto XXXII).
Round 2 is called Antenora, in honor of Antenor of Troy, who according to medieval tradition betrayed his city in favor of the Greeks. Traitors to political entities, such as party, city, or country, are here. Count Ugolino stops biting the head of his rival, Archbishop Ruggieri to describe how Ruggieri locked him in a tower with his children, condemning them to starve. A series of correspondences, as allusions to the same passage from the Aeneid, link this passage to the story of Paolo and Francesca of the second circle, 33 indicating that the ice of the hell of betrayal is the final result of the consent of sin33 (Cantos XXXII and XXXIII).
Round 3 is called Ptolemy, probably in honor of Ptolemy, son of Abobi, who invited Simon Maccabee and his son to a banquet and then killed them.33 Traitors to their guests are punished here, lying supine on the ice, who It covers everything except their faces. They are punished more severely than previous traitors, because the relationship with the betrayed people is by sheer will.34 Fra Alberigo, who had armed soldiers to kill his brother at a banquet, explains that sometimes the soul arrives here earlier May Atropos cut the thread of life. His bodies on earth are immediately possessed by a demon, and then what appeared to be a walking man becomes a man incapable of repentance (Canto XXXIII).
Round 4 is called Judeca, in honor of Judas Iscariot, the traitor of Christ. Here are the traitors to their benefactors. All the punished here are completely immersed in the ice, distorted in every conceivable position. Since they don't speak to anyone here, Dante and Virgilio move quickly towards the center of Hell (Canto XXXIV).
