I’d like to take few minutes to marvel at the work of Doré, whose etchings of the Divine Comedy are pretty darn amazing. The Inferno is as tactile and corporeally-oriented as a work of poetry can get, but Doré’s etchings immediate the experience even more so.
When I read this passage of the door to the underworld and its inscription in Canto III of Inferno, I wonder what it would be like to be warned before passing through doors or what it would be like to live in world without doors in just one, uninterrupted space. I wonder what purpose doors serve aside from sealing and sequestering, orienting and originating variance in where we live. I wonder if passage and travel and evolution are experiences we use the metaphor of a door to represent and what this representation says about the way we see ourselves moving and changing.
But, perhaps, most of all, I wonder how Doré got those etchings so perfect, so dynamic and so alive.