Leit motif in canto: "gold and silver" (oro e argento)

Simon Magus

Apocryphal Acts of Peter

Dante's "breaking" of the baptismal font in Florence

Pope Nicholas III and the so-called "pope hole"

Boniface VIII and Clement V

Donation of Constantine (the fresco cycle in the Church of the Quattro Coronati in Rome)

The diviners, soothsayers, fortune tellers
 

Virgil the Magician ("Virgil in the Basket," etc.)
 

The defense of the founding of Mantua: Manto
 

"Tragedy" and the "tragic style" yield to "comedy" and the "comic style"
 

introcque ("meanwhile"): "hapax legomenon"
 

The opening tercet and the tone and style of the new canto

The Venetian Arsenal and the appropriateness of the introductory simile

Barratry: corruption in civic office

The black demon (diavol nero) and the soul from Lucca

The Malebranche ("Evil Claws") and their leader, Malacoda ("Evil Tail")

The Sacred Face (Santo Volto)

Histrionics in Hell: the devils as actors in a medieval drama

Types of imagery: cooking, animal, military --> the strange trumpet
 

The mock heroic introduction

Autobiographical realism

Ciampolo, the barrator from Navarre, and the deception of the devils
 

Aesop's fable and its relation to the events of cantos 21-22

Hypocrisy and the punishments of the hypocrites (superauratus)

The Jovial Friars ("Frati Godenti"): Catalano and Loderingo

The Pharisees -- Caiaphas and Annas -- and Virgil's amazement
 

The opening simile and it relationship to what follows in the canto

Thieves: Pistoia (Vanni Fucci) and Florence (Cianfa, Agnello, Guercio, Buoso, Puccio)

Cacus

The "outdoing topos": Ovid and Lucan

True and false metamorphoses, conversion
 

The invective against Florence: the inscription on the Bargello:

Florence is full of all imaginable wealth. She defeats her enemies in war and in civil strife. She enjoys the favor of fortune and has a powerful population. Successfully she fortifies and conquers castles. She reigns over the sea and the land and the whole world. Under her leadership the whole of Tuscany enjoys happiness. Like Rome she is always triumphant.

Dante’s attraction to this sin and to these sinners, especially Ulysses

Ulysses and Diomedes: their common sins

The question Dante wants to ask Ulysses

Ulysses's last voyage

World maps in Dante's day
 

Guido da Montefeltro, warlord of the Romagna

False logic
 

The dispute over Guido's soul between Francis and the black demon
 

Schismatics and sowers of discord: the effects of evil counsel

The manner of presentation and the composition of the Comedy

The "clean-cut" contrapasso

The limits of revenge: Geri del Bello

The introductory similes: infirmity: physical (29) and mental (30)

The falsifiers: of metals (alchemists), of coinage (counterfeiters), of persons (impersonators), of words (liars)

The destruction of the individual and of society

Master Adam and "humor" in lower Hell: the technique of the "tenzone"

Virgil's reproof of Dante

Treachery

The towers of Montereggioni --> the giants

Nimrod and the Tower of Babel: incomprehensible language and its consequences: perizoma (< perizomata, v. 61: "apron(s)")

The descent to Cocytus: Antaeus (the reference to the Garisenda tower)
 

The invocation to the Muses and the concern with language

The four zones of Cocytus: 1) Caina (/kin/relatives), 2) Antenora (city/country/party), 3) Tolomea (guests), and 4) Giudecca (masters/benefactors)

Bocca degli Abati (cf. Filippo Argenti)

Tydeus and Menalippus

Count Ugolino and Archbishop Ruggieri

The suggestion of cannibalism

Christological elements and imagery: the parody of the Eucharist

Pisa as a new Thebes

Fra Alberigo and Branca d'Oria

The education of the Pilgrim

Vexilla regis prodeunt: the hymn by Venantius Fortunatus and its infernal parody

Lucifer as an Anti-Trinity: the culmination of Hell and the vision of evil

Judas, Brutus and Cassius: treason to both temporal and spiritual powers

The passage out of Hell and Dante's geography