Dante’s Inferno and Sartre’s No Exit are the focus of this essay, discussing the differences in their settings.
Adam surveys the crowd, identifying those who will shape the future course of his life. He takes a deep breath, determined to make this his final contribution to the world. Silently, he withdraws from the church, as if attempting to freeze time, aware that this moment could define his identity as a man. He gazes at the priest, seemingly ready to respond. But then, he becomes aware that the hand he is clasping is as cold as death itself. Suddenly, he snaps back to reality, realizing that he is not asking for his bride’s hand in marriage – he is burying her. Once again, his mind deceives him into believing in fresh beginnings and second chances. Yet, just like in life, sometimes there are no opportunities for redemption.
Dante’s Inferno and Jean Paul Sartre’s No Exit both use irony in their settings to convey the idea that there are no second chances in life. Both works delve into the minds of their respective authors, offering their interpretations of hell. The settings in these works share similarities in terms of symbolism, representation, and finite physical details, ultimately establishing irony and reinforcing the themes of the authors. Dante’s Inferno, fueled by his inclination for multi-layered interpretations, serves as the inspiration for Sartre’s No Exit. Symbolism plays a significant role in both works, but its meaning cannot be restricted to a single level of understanding. Instead, it requires multiple interpretations. The symbolism used in relation to the settings of both works showcases the authors’ penchant for irony. One example of this is found in Dante’s Inferno, where he frequently references light and the heavens, creating a stark juxtaposition against the darkness and despair of hell (Dante, p.145).In both No Exit and The Inferno, there are references that highlight the irony of the inhabitants of hell never being able to see God’s light. Jean Paul Sartre’s perspective adds another layer of irony as the inhabitants are constantly reminded of the choice they made through the constant presence of light. The mantle, found in No Exit, also serves as a symbol of irony, with clear allusions to heaven and the “true way” depicted in The Inferno. (p.6)
In No Exit, the direct quote “Yes, now’s the moment; I’m looking at this thing on the mantlepiece, and I understand that I’m in hell” (p.45) captures the essence of Dante’s concept. It signifies that in hell, one is constantly reminded of the alternate paths not taken or the righteous path not followed. Another symbol in No Exit is the mirror, which mirrors the characters’ self-reflection and weaknesses. Estelle, having had six mirrors in her lifetime, is condemned to never see herself again. In contrast, Gracin is tormented by seeing mirrors everywhere, constantly reminded of his sins. Meanwhile, Inez sees her mirror as witnessing Estelle and Gracin together forever, a constant reminder of her lustful sins. Dante’s Inferno also utilizes symbolism through its creatures of hell, who guard the various circles of hell. Take the Minotaur, for instance – once a formidable guardian, it is now trapped in circle seven, forever reminded of its earthly sins by watching those who can never escape, perpetually enduring an unending hell.In both The Inferno and No Exit, the sins committed on earth correlate directly to the punishments received in hell, thus exemplifying the concept that one’s earthly sins determine their eternal damnation. This underlying irony stems from the fact that the very things individuals couldn’t live without on earth become the root cause of their torment in hell. Dante’s portrayal of hell in The Inferno demonstrates this notion through various circles, each with punishments specifically designed for the sins committed. For instance, those who engaged in lustful acts are forever bound together, unable to experience physical contact, confined only to their minds. As Dante describes, “Love, which permits no loved one not to love, took me so strongly with delight in him that we are one in Hell, as we were above. Love led us to one death” (p.61, l.100-3). Another example is how Dante portrays suicides as living trees in hell. This punishment reflects their sin of mistreating and harming their own bodies on earth, resulting in their denial of human form in the afterlife.
The play No Exit by Jean Paul Sartre has a similar relationship described to Dante’s style, but with a theme of punishment. Each character has committed a sin that is paid for in hell, making each character the other character’s hell. For instance, Inez, guilty of the carnal sin, instantly falls in love with Estelle. However, Estelle, consumed by the desire to always be the center of a man’s attention, falls in love with Garcin. Garcin, a flatterer, is incapable of loving someone like Estelle, and completes the circle by falling in love with Inez. This circle of lust mirrors Dante’s circles and almost mocks the circle of eternal light and peace, which represents God’s true path.
The irony in both The Inferno and No Exit is accentuated by the setting, as certain details in both works make the atmosphere resemble a depiction of hell. In Dante’s Inferno, each circle of hell has a distinct atmosphere that heightens the irony. For instance, in the third circle where the gluttons reside, Dante and Virgil find themselves in a “gigantic garbage dump” (p.78, l.98). The condemned are condemned to exist in this repulsive setting, which is completely unfit for them. Another example of ironic atmosphere is the silence in Limbo. While all other circles of hell are filled with incessant wailing and demonic noises, Limbo, like those who couldn’t make up their minds, is deprived of both joyous and despairing sounds. Similarly, Jean Paul Sartre creates this ironic atmosphere through his chosen physical setting. Throughout No Exit, Sartre presents his main characters experiencing his personal version of hell in a hotel suite. This ironic ambiance elicits the exact reaction he desires from readers: the notion that this cannot truly be hell due to the absence of fiery pits and demonic creatures with pointed tails. He employs this twist to astonish readers and make them contemplate that hell can manifest anywhere in the world; it is one’s state of mind and punishment that truly make it hellish.
Dante’s statement in his work The Inferno, “What I was living, the same I now, dead” (p. 109, l. 66), highlights the theme of irony in both his and Jean Paul Sartre’s works. The setting in these works further emphasizes the ironic nature of the sins committed and the punishments received. Through symbolism, representation, and specific physical details, both writers explore the essence of irony in their works. These literary devices not only allow readers to identify and understand the texts but also take them to a deeper level of comprehension. Even something as simple as a few chairs and a table can be interpreted as representing Hell’s Kitchen within the ironic interpretation of the setting.
