The ecclesiastical description of Hell is that of a horrible place of fire and torment; in Dante's Inferno, and in northern climes, it was thought to be an icy cold region, a giant refrigerator.
This miserable way is taken by the sorry souls of those who lived without disgrace and without praise. They now commingle with the coward angels, the company of those who were not rebels nor faithful to their God, but stood apart. The heavens, that their beauty not be lessened, have cast them out, nor will deep Hell receive them - even the wicked cannot glory in them.
As little flowers, which the chill of night has bent and huddled, when the white sun strikes, grow straight and open fully on their stems, so did I, too, with my exhausted force.
Nothing is more creative... nor destructive... than a brilliant mind with a purpose.
The photographer is an armed version of the solitary walker reconnoitering, stalking, cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes. Adept of the joys of watching, connoisseur of empathy, the flâneur finds the world 'picturesque.
Anger is like gasoline. If you spray it around and somebody lights a match, you've got an inferno. [But] if we can put our anger inside an engine, it can drive us forward.
I think there are so many guys coming up that are ready to bust loose. All they need is that one little flame of confidence that starts the inferno. And when you get those guys, once it starts happening, nothing can stop you. And you can tell which guys have it. You always know which guys have it.
Thus Dante's motto over Inferno applies with equal force to marriage: "Ye who enter here leave all hope behind.
The knowledge that refuge is available, when and if needed, makes the silent inferno of the desert more easily bearable. Mountains complement desert as desert complements city, as wilderness complements and completes civilization.
Hatred can be nurtured anywhere, idealism can be perverted into sadism anywhere. If hatred and sadism combine with modern technology the inferno could erupt anew anywhere.
The merit of Mahomet is that he founded a religion without an inferno.
How can we extinguish a fire if we don't first cut off the fuel that ignites the inferno?
Hail, mute devil! You are the most intense animal. An eternal mystic of the fleshly inferno.
Writers are always at the edge of the inferno, and the fire is licking at our toes. Luckily, this turns us on!
Countless candles dribbled with hot wax, and their flames, like little flags, fluttered in the unchartered currents of air. Thousands of lamps, naked, or shuttered behind coloured glass, burned with their glows of purple, amber, grass-green, blue, blood red and even grey. The walls of Gormenghast were like the walls of paradise or like the walls of an inferno. The colours were devilish or angelical according to the colour of the mind that watched them. They swam, those walls, with the hues of hell, with the tints of Zion. The breasts of the plumaged seraphim; the scales of Satan.
I groaned. Man and his codes! Even in a lawless inferno, man has to give himself some honor, he's so desperate to separate himself from the beasts.
Although I studied Dante's Inferno as a student, it wasn't until recently, while researching in Florence, that I came to appreciate the enduring influence of Dante's work on the modern world.
My hell is going to be the stairmaster wing of Dante's inferno, where they're gonna tape my feet to the pedals and the only music I get is Michael Bolton karaoke style.
I felt what I was trying to do was make people realize that comics could be deep. I stopped myself in the middle of saying that because the Bazooka Joe thing I do with Dante's Inferno, that was just a goof. I wasn't trying to make people look at Bazooka Joe more seriously. But in my mind it's always been important.
A great model for this is the way that Dante calls on Virgil at the beginning of 'The Inferno,' 'The Divine Comedy,' to help guide him through the underworld.
In a way, that's also a recognition that Dante needs Virgil and that the Inferno needs the Aeneid and that the epic needs a model and that for Dante to write this great poem he needs someone to come before him and he turns to Virgil's text, especially book six where Aeneas goes down into the underworld. And for me, that's a model of the poet's relationship to previous poetry, to another poetry as calling out for guidance.
That shot in "Into the Inferno" somehow popped up while my editor and I were viewing the footage. I immediately said, "That looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." So it was a practical choice. At the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.
The universe couldn't care less about us. I say this very clearly in the film [ "Into the Inferno"]: our planet is "indifferent to scurrying roaches, retarded reptiles and vapid humans alike."
Sergio Trujillos choreography adds coals to the inferno, with movement that plain just doesnt stop. We know from Jersey Boys that he can capture this style, but in Memphis, he kicks it up towards art, playing with the authentic touches to add some hits of Fosse, or riffs from modern dance that take us just that extra step we need.
A man who has not passed through the inferno of his passions has never overcome them. They then dwell in the house next door, and at any moment a flame may dart out and set fire to his own house. Whenever we give up, leave behind, and forget too much, there is always the danger that the things we have neglected will return with added force.
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