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  INFERNO

  DECODED

  INFERNO DECODED

  Michael Haag

  WITH

  GREG WARD

  MICHAEL HAAG is a notable historian who has written for the Sunday Times, the Los Angeles Times and Vogue. His books include the bestselling Rough Guide to The Da Vinci Code, The Tragedy of the Templars, and Alexandria: City of Memory. Originally from New York City, he lives in London.

  www.michaelhaag.com

  INFERNO DECODED

  First published in Great Britain in June 2013 by

  PROFILE BOOKS LTD

  3A Exmouth House

  Pine Street

  London EC1R 0JH

  www.profilebooks.com

  Chapter 8 © Paul McMahon 2013

  Chapters 7, 9 & 13 © Greg Ward 2013

  All other text copyright © Michael Haag 2013

  The moral right of the author has been asserted.

  All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the publisher of this book.

  A CIP catalogue record for this book is available from the British Library.

  ISBN 978-1781251805

  ePUB ISBN 9781847659989

  ACKNOWLEDGEMENTS

  This book has followed Dan Brown’s Inferno in using the William Wadsworth Longfellow translation of the Divine Comedy, though sometimes I have adapted it for clarity. Where occasionally Dan Brown has used Allen Mandelbaum’s modern verse translation of the Divine Comedy, published by Bantam (originally University of California Press, 1980), that has been followed here too. Also I have occasionally used the prose translation of the Divine Comedy by John D Sinclair published by Oxford University Press (1939). Quotations from Dante’s Vita Nuova are from the translation by Dante Gabriel Rossetti (1874).

  For his help and advice I give my thanks to Alexei Grishin.

  Thanks to Greg Ward (www.gregward.info) who wrote chapters Seven, Nine and Thirteen of this book. Paul McMahon kindly gave permission to adapt and shorten the chapter on ‘Was Malthus Right?’ from his book Feeding Frenzy (Profile Books, 2013) for use as Chapter Eight of this book.

  Photographs: p.224 and p.233, Corbis Images; p.167 Karl Gruber; p.177 Russ London. All photographs of Florence and the Hagia Sophia were taken by Michael Haag.

  The map of Florence on p.203 is taken from the Blue Guide to Florence, and has been adapted and reproduced with permission.

  CONTENTS

  Preface: Inferno Decoded

  Introduction: Dan Brown’s Inferno

  PART ONE: DANTE AND HIS WORLD

  1 Dante Alighieri

  2 Beatrice

  3 The Divine Comedy

  4 Florence and the Black Death

  5 Humanism: the Rediscovery of a Better World

  6 Botticelli and Infernal Art

  PART TWO: A WORLD IN DANGER?

  7 The Mathematics of Malthus

  8 Apocalypse Now?

  9 Transhumanists – the Eternal Optimists

  PART THREE: INFERNAL LOCATIONS

  10 Florence

  11 Venice and Istanbul

  PART FOUR: DAN BROWN AND HIS WORLD

  12 Langdon & Brown

  13 An Infernal Glossary

  14 Further Reading and Websites

  Index

  Inferno Decoded

  In the heart of Florence a mysterious figure called the Shade throws himself from the bell tower of a church. But not before announcing his ‘gift to mankind’, a modern-day version of the Black Death, which will cull the world’s human population by a third. The Shade calls his invention Inferno. ‘The path to paradise passes directly through hell’, he says. ‘Dante taught us that.’

  Dan Brown’s Inferno is a tumultuous thriller, full of rapid twists and turns as Robert Langdon races through the streets and churches and secret passageways of Florence, unravelling the hidden meanings of verses and symbols in Dante’s Inferno – and all the time following the Map of Hell, drawn by another great Florentine, Sandro Botticelli.

  Inferno Decoded is an illuminating companion to Dan Brown’s Inferno. It looks into the novel’s darkest mysteries, sorting out the facts from the fiction and exploring the ancient cities that serve as its setting. Do the clues unveiled in symbology professor Robert Langdon’s daring quest from Florence to Venice and Istanbul overlap with history? What codes and symbols did Dante employ in the Divine Comedy and which secret religious, philosophical, and scientific themes are hidden within his work? What lies behind Botticelli’s Mappa del’Inferno?

  Inferno Decoded also debates the big questions posed by Dan Brown. In a world that will soon be home to ten billion people, are we truly facing mass starvation, perpetual war and the collapse of human society? Does the Shade’s plan to ‘thin the human herd’ make some sort of twisted sense? Does the future lie with the Transhumanist aim of genetically transforming ourselves into posthumans? And what lessons can be learned from the great humanists of the Renaissance themselves?

  INTRODUCTION

  Dan Brown’s Inferno

  The darkest places in hell are reserved for those who maintain their neutrality in times of moral crisis.

  Epigraph to Dan Brown’s Inferno

  At the heart of Dan Brown’s Inferno lies a moral argument. According to one of the book’s central characters, the world is overpopulated. Nothing effective has been done, or can be done using conventional means, to prevent the population increasing until Earth can no longer sustain such numbers and human society collapses under the strain.

  This character, however, has a plan: a massive cull of the human population. After all, he remarks, the Black Death of 1348 amounted to much the same thing, and had wonderful results; the immediate increase in available land, and the redistribution of wealth into fewer hands, provided the stimulus that gave rise to the Renaissance. Faced with the choice between the collapse of civilised society on the one hand, and its rebirth on the other, would it really be such a bad thing if a modern version of the Black Death were set loose today?

  This same character, first introduced as ‘the Shade’, sees images of that hellish world of overpopulation in Dante Alighieri’s Inferno. In Dante’s vision, the sufferings and anguish of the condemned are intensified by their sheer numbers: ‘I ne’er would have believed / That ever Death so many had undone’. According to the Shade: ‘To do nothing is to welcome Dante’s hell… cramped and starving, weltering in Sin.’ Reminders of the plague leap out at Brown’s perennial hero, Robert Langdon, in almost every street as he makes his way through Florence, seeking clues about the hidden doomsday device. ‘My God,’ Langdon thought, as he noticed a sign reading La peste near (the Black Death), ‘it’s everywhere I turn!’

  That sign was on Ghiberti’s famous bronze doors, on the east side of the Baptistery, which had been commissioned as an offering to God in 1401 in the hope that Florence would be spared future epidemics. When Michelangelo saw the completed doors, he called them the Gates of Paradise. According to the Shade, however, ‘The path to paradise passes directly through hell. Dante taught us that.’

  In this introductory overview, we’ll run through the essential plot, characters, themes and ideas of Dan Brown’s Inferno. All are explored at greater length in the chapters that follow.

  INTRODUCING THE SHADE

  Florence lies in darkness, the Apennine mountains to the east shutting out the early rays of dawn. A desperate ghost-like figure runs along the banks of the River Arno and ‘through the dolent city’, ‘through the eternal woe’, his purs
uers gaining ground, their footsteps growing louder.

  This is how the Prologue of Dan Brown’s Inferno begins – in the middle of things. Not only does Brown swiftly take us into his own plot, but he also draws us into the Inferno of Dante.

  ‘Through the dolent city I flee…’: the spire of the Badia, from which the Shade threw himself into the abyss.

  ‘I am the Shade’, cries the fleeing figure. For years he has been hunted, forced to live underground. Desperate to escape, he pauses briefly in the shadows of the Uffizi, then races north along the Via dei Castellani, around the back of the Palazzo Vecchio.

  Opposite the looming bulk of the Bargello in the Via del Proconsolo, he throws himself against the iron gate at the base of the stairs of the ancient spire that rises above the church and cloisters of the Badia.

  Into the narrow passage and up the spiralling marble staircase, the voices of his pursuers close behind him, the Shade clambers skywards, tormented by visions – lustful bodies writhing in fiery rain, the souls of gluttons floating in their own excrement, and far below the city, far below even the fires of Hell, in the frozen depths where Satan holds them in his icy grasp and devours them, are the traitors, the coldest and cruellest sinners of all. But there are darker places still, reserved for those who maintain their neutrality in times of moral crisis. The Shade knows there can be no return.

  For Dante too there is no easy way. He must follow the Roman poet Virgil through Hell, where above its gates are inscribed these words, with their famous concluding line:

  Through me the way is to the city dolent;

  Through me the way is to eternal woe;

  Through me the way among the people lost.

  Abandon all hope ye who enter here.

  In the course of the Divine Comedy, Dante descends through the ever-deeper circles of Hell. There he meets the shades of the damned – and there he reflects bitterly upon Florence, his native city, which has cast him into exile and sentenced him to death by burning at the stake if ever he returns. Only after passing through Hell and Purgatory is he cleansed of this world, and free to journey with his beloved Beatrice to the stars.

  ‘Tell us where you’ve hidden it’, the pursuing voices threaten. But the Shade is standing now on a narrow ledge high above the terracotta rooftops of Florence. They glow beneath him like a sea of fire, illuminating the fair landscape where giants like Giotto, Donatello, Brunelleschi, Michelangelo and Botticelli once roamed. He cries out, ‘Guide me, dear Virgil, across the void.’

  Suddenly, in these final moments, the Shade is startled by a face in the cobblestoned piazza hundreds of feet below. He sees her mournful eyes, in which he also senses a veneration for what he has accomplished, an understanding that he has no choice. For the love of mankind he must protect his masterpiece, which even now waits, growing, simmering, beneath the blood-red waters of the infernal lagoon that reflects no stars.

  Praying that the world will remember him not as a monstrous sinner but as a glorious saviour, and will appreciate the gift he has left behind, the Shade utters a final incantation: ‘My gift is the future. My gift is salvation. My gift is Inferno.’

  And whispering amen, he steps into the abyss.

  The ‘dolent city’, the ‘city of eternal woe’, the city’s rooftops glowing like a sea of fire; Dan Brown is reaching into Dante’s Inferno for his own descriptions of Florence. The Badia, to which the Shade has fled, stood here in Dante’s time, within a stone’s throw of where he was born, its bells tolling the beginning and the end of each waking day. Each of those horrific visions that beset the Shade as he clambers up the spire is drawn from a circle of Dante’s Inferno. ‘Guide me Virgil’, cries the Shade, just as Virgil guided Dante through the terrors of Hell. And Beatrice is there too; that mournful face far below, she is the Shade’s beloved, his muse. But who is she really in the pages of Dan Brown’s thriller. And what, precisely, is Inferno, the Shade’s ‘gift’ to mankind?

  THE PLOT UNFOLDS

  Inferno is full of the exciting twists and turns you’d expect from Dan Brown, but in this case the plot is especially and devilishly deceptive.

  The Prologue establishes the threat – the Shade has planted a device that will have earth-shattering consequences. But who is the Shade, what is the device, what is it meant to do – and where is it to be found, so that it can be neutralised in time?

  No such thoughts are on Robert Langdon’s mind, however, as he lies in a hospital bed, his head stitched up, his hair caked with blood. In fact he has nothing on his mind at all. First of all, he is unconscious. Then, when he awakes, he is suffering from amnesia – the consequence, he is told by the lissom Dr Sienna Brooks, of concussion after a bullet grazed his head.

  Langdon too has visions, of a scalding red river, of Dante’s ‘river of boiling blood in which are steeped all who struck down their fellow men’. In Dante’s Inferno, the poet crossed its churning waters into a terrifying landscape filled with thousands of writhing bodies suffering agonising deaths, roasted in fires, suffocating in faeces, being eaten alive – a landscape where, in Langdon’s dream, a mysterious veiled woman reaches out her hands beseeching him for help, saying ‘Seek and find’.

  Langdon at this point knows nothing of the Shade or his infernal device. All he knows is that someone is trying to kill him. That’s why he is in hospital, and that’s why he spends three-quarters of the book on the run from his pursuers, gratifyingly accompanied by the willowy Sienna Brooks.

  But why are they trying to kill him? It must have something to do with an ancient cylinder seal he has found sewn inside his jacket. Inside the seal, he discovers a minuscule self-powering projector that displays on the nearest wall Botticelli’s Mappa dell’Inferno, illustrating Dante’s Inferno and filled with tiny figures inhabiting the various circles of punishment, agony and pain. Professor of art history and symbology that he is, however, Robert Langdon cannot help noticing that Botticelli’s original has been doctored. The sequence of the circles has been altered, and this must be a clue.

  A Mesopotamian cylinder seal, much like the one Robert Langdon finds sewn into his jacket.

  And so, the way you do when you’re a famous symbologist, Langdon finds himself racing through the streets and secret passageways of Florence; a man on the run, pursued by black-uniformed soldiers with icy eyes and umlauts over their names, and by a spike-haired female motorbike rider clad in black leather, surveyed all the while by overhead drones. A man, too, who’s given clues, one after the other – to what, he doesn’t know, but if only he can find the answers then possibly they will explain his amnesia and why people are trying to kill him.

  In due course, and almost without intention, Langdon picks up the scent among the clues left by the man who was the Shade, who turns out to have been the billionaire Swiss geneticist Bertrand Zobrist, a Dante enthusiast and the owner of Dante’s death mask. Only then does Langdon realise that some great danger lies in Zobrist’s infernal device, and that he has less than twenty-four hours to save the world. Which gives him something more to do, apart from avoiding getting shot and trying to remember why he came to Florence in the first place.

  Inferno is a clever thriller, which operates on several planes at once, and is complicated still further when Langdon discovers that he is the victim of an elaborate theatrical event. Almost everyone he has encountered turns out to be someone else, actors on a stage, playing their parts in events that never happened, enacted for the sole purpose of trying to get Langdon to figure out where Zobrist has hidden his Inferno – which turns out to be a modern-day version of the Black Death. Zobrist believes that the world is overpopulated, and that within a few years it will become unsustainably so, leading to the total collapse of human society. Having observed that the Black Death pandemic of 1348 killed off a third of Europe’s population, Zobrist has decided that the same exact proportion needs to be culled today.

  The World Health Organisation wants to know where Zobrist has hidden his device so that they can deac
tivate it. In addition, however, a shadowy organisation called the Consortium, inconspicuously based on a colossal Mediterranean yacht, wants to know the same thing. Zobrist had hired the Consortium a year before he threw himself off the Badia tower, and tasked it with protecting his secrets, despite not knowing what those secrets may have been. When it learns that the WHO is using Langdon to find the location of Zobrist’s Inferno, the Consortium wants to obtain that information too, to ensure that the device activates as Zobrist planned. And so its operatives kidnap Langdon, give him an injection or two, enmesh him in their play, and manipulate him through the greater part of the book as he tears along from Florence to Venice and Istanbul.

  DANTE, BEATRICE AND FLORENCE

  Three-quarters of Dan Brown’s Inferno is set in Florence, and almost all of that takes place in what is described as ‘the old city’. This was the city that lay within the thirteenth-century walls, the city that was Dante’s world. Here he was born, and here in the great Baptistery he was baptised beneath the magnificent mosaic ceiling of heaven and hell. In Dante’s day, the Duomo was newly under construction, while the Badia and the Palazzo Vecchio were already standing. So too was the little church of Santa Margherita de Cerchi, otherwise known as Dante’s Church, where his family prayed and where Beatrice, the great love of his life, is remembered daily by fresh flowers placed on her family tomb.

  ‘I pass behind the palazzo with its crenellated tower and one-handed clock’: Palazzo Vecchio at night.

  All these places feature prominently in Dan Brown’s Inferno, which is saturated with descriptions of Florence as well as references to Dante and the books of his Divine Comedy. With irony, Dan Brown has made his anti-hero Bertrand Zobrist a Dante aficionado, a man who seems to have entirely entered into the poet’s Inferno, seeking his way to Paradise through Hell, and finding his muse, his blessed Beatrice, in Sienna Brooks.