The poets have entered the circle of “Malebolge.” As noted in the summary above, there is a certain amount of confusion over the terminology, which can lead to a confusion of images. The word “Bolgia” in Italian means both “pit” and “pouch,” but neither term seems to be the best translation for the idea Dante wanted to convey. The words “chasm” or “ravine” seem to carry the connotation of depth and ruggedness that Dante would wish, but “moat” would probably be equally acceptable, as Dante implies in an early stanza. The word “well” might be replaced with “crater” or “abyss” in matters of clarity. The prefix of “Male” means variously “sickness” or “evil.”
Malebolge is a terrible place, in the true meaning of the word. Dante has devoted thirteen cantos to this one circle of Hell. These are the heart of the Inferno and they contain some of the most dramatic scenes, both in content and in poetic richness. The opening of this canto, with a long descriptive passage, is some of Dante’s best poetry.
The first sinners that Dante confronts in the first ditch of Malebolge are the Panderers (those who used others to serve their own purposes). Due to the nature of retribution, Panderers will spend eternity prodded by malicious demons. The souls walking in the other direction are Seducers who are similar to the Panderers, because they also used others for their own needs.
Venedico Caccianemico of Bologna admits to Dante that he brought Ghisolabella, his own sister, around to suit the sexual desires of the Marquis Obbizo da Este of Ferrara. One of the demons prodding the damned soul calls Venedico a pimp.
The figure of Jason is startling in this canto, because he is quite deep in the bowels of Hell, and he is a famous mythological figure. Dante, as the poet of courtly love, clearly dislikes Jason’s behavior toward women—seduce them, get them with child, and desert them.
The souls in the next ditch are the Flatterers, and again, in the theme of retribution, they wallow in filth and sewage, much like they did in life, with their false flattery. To illustrate the grossness of false flattery, Dante picks two sinners. The first, Alessio Interminelli da Lucca, was from a noble family, though not much is known about him. The second, Thaïs, is said to have received the gift of a slave from her lover, and when asked if she thanked him much, she replied with so much flattery that her gratitude was beyond believing.
