“‘Venus Doom’ is said to have multiple layers, ranging from beautiful melodies to crunchy guitars–a contrast that HIM was striving for. The idea to have nine songs was based on Dante’s Inferno, ’cause hell has nine layers, so it’s like going deeper down into hell and then coming back,’ [band’s frontman] Valo said.” —Live Daily (retrieved July 7, 2009)
Decadence, “Decadence” (2005)
The first track on this Swedish band’s self-titled debut album is called “Wrathful and Sullen,” the lyrics of which allude to the punishment of those immersed in the Styx.
James Merrill, “Divine Comedies” (1976)
Merrill’s collection of poems includes one, “The Book of Ephraim,” which is an account of “conversations held, via the Ouija board, with dead friends and spirits in ‘another world.'” –Stephen Spender, The New York Review of Books, December 21, 1978
Karl Marx, “Das Kapital” (1867)
Ending his preface to the first edition of Das Kapital, Marx states the following:
“I welcome every opinion based on scientific criticism. As to the prejudices of so-called public opinion, to which I have never made concessions, now, as ever, my maxim is that of the great Florentine: ‘Segui il tuo corso, e lascia dire le genti.'” –Karl Marx, Capital: A Critique of Political Economy, trans. Ben Fowkes, ed. David Fernbach, Fowkes, and Ernest Mandel (New York: Penguin Classics, 1976), p. 93.
As the editors note, Marx actually altered Dante’s words for his own purposes. The original line, Purgatorio V 13, is as follows: “Vien dietro a me, a lasica dir le genti.”
Henry Wadsworth Longfellow, “Mezzo Cammin” (1842) and “Divina Commedia” (1867)
The title, “Mezzo Cammin,” takes its name from the first line of the Inferno. Longfellow, the first American to translate Dante’s Commedia into English, “was 35 when he wrote this poem, halfway through the scriptural lifespan of 70 years.”
Additionally, Longfellow wrote six sonnets, entitled “Divina Commedia,” which were composed during the grief-filled aftermath of his second wife’s death.
“The six sonnets. . .were written during the progress of Mr. Longfellow’s work in translating the Commedia, and were published as poetical fly-leaves to the three parts. The first was written just after he had put the first two cantos of the Inferno into the hands of the printer. This, with the second, prefaced the Inferno. The third and fourth introduced the Purgatorio, and the fifth and sixth the Paradiso.” —Representative Poetry Online (retrieved on July 7, 2009)
