82 pages 2 hours read

Inferno

Fiction | Novel | Adult | Published in 2013

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Symbols & Motifs

Dante Alighieri and the Divine Comedy

Western art history is a mainstay of the Robert Langdon series, with the lives and works of its most prominent artists forming the structure of the mazes Langdon is forced to navigate in each novel. In Inferno, the central recognized artist is Dante Alighieri, author of the Divine Comedy, and nearly all of the artworks Langdon encounters on his journey are somewhat related to the life and times of Dante.

The structure of the novel itself reflects that of the Divine Comedy. As with the Comedy, Brown’s Inferno can be divided into three parts: the first in Florence reflecting Dante’s Inferno, the second in Venice reflecting Purgatorio, and the third in Istanbul reflecting Paradiso. In the Divine Comedy, Dante is accompanied by the Roman poet Virgil through Hell and Purgatory, but Virgil departs at the summit of Mount Purgatory because, being a pagan, he is not permitted beyond that point. Dante is instead accompanied by the figure of his unrequited love, Beatrice Portinari, through Heaven. Notably, Virgil tells Dante at the beginning of the Comedy that it was Beatrice who commissioned him to bring Dante through the realms of Hell and Purgatory, and thus she masterminds his entire journey through the afterlife.

Concordantly, in Brown’s Inferno, Langdon is accompanied by Sienna—who can be thought of as a “pagan” due to her philosophical existence outside of the broader Western scientific/Euro-Christian moral dichotomy—through Florence (Inferno) and Venice (Purgatorio), but she departs there, and Langdon is instead accompanied by Sinskey through much of his time in Istanbul (Paradiso). Langdon’s revelation that Sinskey was the one who brought him to Florence in the first place further parallels her to Beatrice.

Finally, as noted in the novel, the last word of each part of the Divine Comedy is always “stars,” which Brown pays homage to in the final sentence of his Inferno: “The sky had become a glistening tapestry of stars” (463).

The Black Death and the Italian Renaissance

Born circa 1265 and dying in 1321, the horrors of the Black Death in Europe were central to Dante’s life and his writings, with Dante’s death coming just as the plague was subsiding and the Italian Renaissance—which he greatly influenced—was beginning.

This progression from untold horror and mass death to unprecedented prosperity preoccupies the mind of Bertrand Zobrist, who views the present world as parallel to Europe just before the onset of the Black Death—overcrowded, impoverished, unequal, unstable, and unprepared for such a catastrophe. In Zobrist’s mind, a humanity left to its own devices is incapable of returning from such a state to a state of prosperity without first passing through a time of misery, such as the Black Death, and he worries that with humanity’s advanced power over nature—which was not a variable to be considered in the 13th century—the pains of such an age of death will only be multiplied were it to occur in the present day. His turn to Transhumanism thus reflects his desire to break beyond the common progression of the species in order to explore more outside-the-box methods of overcoming the issue.

Many of the sights Langdon visits throughout the course of the novel are also famous for their connections to the Black Death, in particular the cities of Istanbul and Venice, each of which are considered by historians to be primary entry points of the plague into Europe.

A parallel of the Italian Renaissance in the novel can be seen in the transition from denial and inaction to a new understanding and the beginnings of the characters taking action on the issue. Langdon himself is the best representation of the blossoming of the changes that inspired the cultural growth that occurred during the Italian Renaissance. Just as cultural advances of the Italian Renaissance ushered in the dawning of the modern age, so too does Langdon’s adventure in Inferno enlighten and educate him about the problem of overpopulation and how dangerous his position of moral neutrality truly is. None of the characters in the novel will ever be the same after reaching the understanding that Inferno has brought them.

Transhumanism

Having greatly informed the interventionist beliefs of both Zobrist and Sienna, Transhumanism’s philosophy and morality are in the spotlight in Inferno. As Sienna and Sinskey point out during the novel, the central belief of the overarching movement is that humanity stands on the cusp of a major moment in its natural life, during which it will have the opportunity to “transcend” beyond its biological imperative into a new species altogether. The speculated features of this transition include humanity’s biologically unprecedented control over its own genetic destiny, a sharp increase in its control over its surrounding environment, and potentially a transition into a “higher” level of thought unrecognizable to homo sapiens. For Transhumanists, this progression is seen as a necessity and an absolute good, though the novel illustrates the dangers of such an extreme belief system.

The two most prominent identifiers of the movement in Inferno include the symbol “h+,” representing “humanity plus,” which remains a prominent emblem of the real-world Transhumanist movement, and the naming convention represented by Sienna’s Transhumanist moniker, FS-2080, which utilizes her first and middle initials of her legal name (Felicity Sienna) followed by a number relevant to the movement. While the actual usage of this convention in the real world is questionable, Brown includes it as an example of the Transhumanists’ willingness to look beyond common human traditions in favor of those perceived to be more progressive.

Other works related to Transhumanism include Ray Kurzweil’s The Singularity is Near, which remains central to the ideology, and Yuval Noah Harari’s Sapiens trilogy (especially the second volume, Homo Deus), which offers a dissenting voice to the argument of post-human progression as an absolute good.

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