Representation of Dante’s Inferno in Dan Brown Novel “Inferno”

By: Gabby Andres

As one of his later works in a series centered around heroin professor Robert Langdon, Dan Brown’s “Inferno” immerses the reader into a series of mysteries derived from abstracts of  “Dantes Divine Comedy.” In Dante Alighieri's masterful work, he embarks on a journey through hell and purgatory with his guide Virgil in order to gain access into heaven. Although the entire work is notable, the first section of the comedy entitled “Inferno” is the most prevalent in this case. Not only does this section hold the same title as Dan Brown’s work, it also recounts Dantes experience in hell, which is a common theme throughout the book. Additionally, Brown alludes to Greco-Roman mythology and specific characteristics of the circles of hell seen in the comedy. Paired with the fact that the story is set in the birthplace of Alighieri; Florence, Italy, a further connection to the comedy can be established.

        At the beginning of the novel, character Robert Langdon slowly regains consciousness and is hit with a small recollection of memories. In his recollection, he sees a veiled woman who stands opposite him “...across a river whose churning waters ran red with blood” (Brown, 1-1). He also notices that the waters were “too deep to traverse” (Brown 1-1) and that all around him he could hear “...the mournful cries of human suffering” (Brown 1-1). This river Brown depicts, parallels the river that Dante crosses at the beginning of his journey through hell. Dante is met in Canto 3 of Inferno by Charon at the shores of Acheron, where he is granted access onto Charon’s boat to cross the river into the depths of hell. In this Canto(3), Alighieri describes the river as a place of despair where he questions “What is it master, that oppresses these souls, compelling them to wail?” In both depictions of the river, there is insurmountable suffering that creates chaos around the character. Additionally, the river is too deep to cross, preventing each character from reaching what they seek. In the case of the comedy, the dead souls at the shore cannot cross the river because they need access to the boat, preventing them from entering hell. Although the matter of the souls being alive in Brown’s novel contradicts the Comedy, it could be inferred this was intentional of Brown as it alludes to the idea of hell on earth. For Langdon, the water is too deep and he will drown if he tries to get the information that he needs to uncover the mystery. This representation of the river at the beginning of Brown’s novel is very fitting, as it relates the memory block Langdon is experiencing to how Acheron blocks the entrance into hell.

        Throughout his journey to uncover the mystery of his lost memory and the government target on his back, Langdon uncovers a series of clues, some of which alluding to specific characteristics of Dantes depiction of hell. In chapter 13, Langdon opens a tube with the biohazard symbol on the front, allowing for the contents to be exposed. He removes a cylindrical seal from the tube and recognizes the symbol on the front as “a three-headed, horned Satan who was in the process of eating three different men at once, one man in each of his three mouths'' (Brown, 13-2). This is a direct nod to Canto 34 of Inferno where Dante enters the pit of hell and sees that Satan “...had three faces: one–in front-bloodred.” Damned to the deepest pits of hell, Satan represents the epitome of punishment for sin as he is doomed to reside in isolation for all time. In Dante’s depiction, the three faces are each devouring souls of traitorous sinners, precisely those of Cassius, Brutus, and Judas. Hence, the stain of blood on Satan’s skin. This triad is commonly interpreted as a distortion of the holy trinity. However, in Brown’s novel he recognizes this symbol as “an icon associated with the Black Death” (Brown, 13-3) in the Middle Ages. This connection leads to an unraveling of ideas, of which includes the fact that Christians believed the Black Death was brought to the world by God to punish sinners. Because the Black Death occured after Dantes time, there was no way for him to allude to this in his writing. However, a reader of the comedy with a full history at their feet may be able argue an allusion that Satan’s three heads do reflect the devastation the Black Death had on the world by the degree of conquering efficiency.

        In his effort to decipher one of the many clues, the cylinder seal and the map that lies within, Langdon has to think about the deep history Dante has with Florence. He realizes that he awoke in Florence and that can't be by mistake, maybe he was searching for clues there before being hospitalized. He recalls “No city on Earth was more closely tied to Dante than Florence” (Brown, 18-1). Not only was Dante born in Florence, he supposedly found love and career there, prior to his exile. After his exile, the immense feelings for Florence only increased as he was homesick and wrecked with contradicting feelings of betrayal and love for his city. In Canto 6 Alighieri defines his city as “...one so full of envy that its sack has always spilled.” This suggests the envy that filled Florence was that of onlookers, jealous of all the city has to offer. Despite his indignation, Dante continues to portray Florence in good light and Brown’s recognition of this in his work is very important because it commemorates Dante in modern day.

        Despite some critiques of Dan Brown’s work in terms of accuracy, overall he portrays Dantes work as the masterpiece that it is. The novel is an entertaining read that contains many accurate and memorable connections to Dantes Divine Comedy, including the circles of hell, notable characters, and connections to other prominent historical figures/events. Not only is it informative for young readers like myself, it also has the ability to reach an audience that would not typically seek to learn about Dante and his work.

Works Cited:

“Chapter 13.” The Keys to Dan Brown’s Inferno, 11 Sept. 2013, https://sites.middlebury.edu/thekeystodanbrownsinferno/chapter-13/.

Inferno 6 – Digital Dante. https://digitaldante.columbia.edu/dante/divine-comedy/inferno/inferno-6/. Accessed 15 Nov. 2023.

Olson, Kristina M. “Review of Inferno Revealed: From Dante to Dan Brown.” Italica, vol. 92, no. 2, 2015, pp. 508–11. JSTOR, https://www.jstor.org/stable/43895981.

“Inferno.” Dan Brown, https://danbrown.com/inferno/. Accessed 15 Nov. 2023.

Inferno 3 – Digital Dante. https://digitaldante.columbia.edu/dante/divine-comedy/inferno/inferno-3/. Accessed 7 Dec. 2023.

Lucifer’s Representation in Dante’s Inferno – Dante to Machiavelli at CCNY. 2 Oct. 2021, https://ital28100.commons.gc.cuny.edu/lucifers-representation-in-dantes-inferno/.

Aciman, Alexander. “Recapping Dante: Canto 3, or Abandon Hope.” The Paris Review, 21 Oct. 2013, https://www.theparisreview.org/blog/2013/10/21/recapping-dante-canto-iii/.