Echoes of
The
Divine Comedy
in
C.S. Lewis’
The Great Divorce
http://www.us.penguingroup.com/
Holy Apostles College and Seminary
Bro. Patrick H. Sarsfield, S.M.
Dr. Sebastian Mahfood
STP 615: Dante’s Divine Comedy:
Thomistic Philosophy in Narrative
http://www.harpercollins.com
C.S. Lewis (1898-1963)

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Although best known as a
Christian apologist, Lewis
was Fellow and tutor of
English Literature at Oxford
and then Chair of Medieval
and Renaissance Literature at
Cambridge.
In his writing, Lewis
expressed a clear admiration
for Dante and for the Divine
Comedy.
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Lewis on Dante

“Dante remains a strong candidate for the supreme poetical
honours of the world.”
– The Allegory of Love

“[Dante’s Paradiso] has really opened a new world to me…I
should describe it as feeling more important than any poetry I
have ever read…Its blend of complexity and beauty is very like
Catholic theology – wheel within wheel, but wheels of glory, and
the One radiated through the many.”
-The Letters of C.S. Lewis to Arthur Greeves

“I think Dante’s poetry, on the whole, the greatest of all the
poetry I have read…After Dante even Shakespeare seems to me
a little factitious…”
-“Dante’s Similes,” Studies in Medieval and Renaissance Literature

“There is so much besides poetry in Dante that anyone but a
fool can enjoy him in some way or another.”
-“Dante’s Similes,” Studies in Medieval and Renaissance Literature
The Great Divorce

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Originally the work was published, starting in 1944, as a serial for
the Anglican newspaper, the Guardian, under the name “Who
Goes Home?”
The episodes were collected and published in England in 1945
under the name The Great Divorce, A Dream.
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The word “dream” in the title is significant because makes it clear that the
work fits into the genre of “dream vision.”
The American edition was simply called The Great Divorce and was
published in 1946.
The title was meant to be a play on William Blake’s The Marriage of Heaven
and Hell
While other works, such as The Screwtape Letters and the Chronicles
of Narnia get more attention, Lewis seems to have had a special
affection for this work, calling it his “Cinderella.”
- Kathryn Lindskoog. “C. S. Lewis’s Divine Comedy." The Lewis Legacy 83 (2000)
Brief Synopsis of the Plot

“I seemed to be standing in a bus queue
by the side of mean street…”
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
The unnamed narrator finds himself waiting
on line for a bus after wandering around the
streets of a bleak, rainy, twilit town.
A group of contentious individuals waits for
the arrival of the bus that is to take them on
an excursion away from the town
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The bus finally appears and it is described as “wonderful;”
blazing with golden light, with heraldic colors of purple and
gilt. The driver likewise is full of light.
The passengers enter the bus and the narrator interacts with
several of them as the bus lifts off from the ground and flies
up a gigantic cliff.
At the top of the cliff, the passengers leave the bus and are
now on a vast plain with enormous mountains in the
distance.
The passengers are greeted by “bright, solid people” who
have come down from the mountains to talk with them.
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The passengers are described as “ghosts,” “transparent,” “manshaped stains on the brightness of that air.”
The “solid people” have been to heaven and are now “real;”
that is, what God had intended them to be.
The “solid people” try to explain to the “ghosts” what they
must do in order to become real enough to progress to the
mountains.
The rest of the work is the narrator describing these
conversations and the conversation he has with his own
guide.
The Divine Comedy
&
The Great Divorce

Lewis had aspects of the Divine Comedy in
mind when he wrote the Great Divorce.

“…the bus-driver in the Divorce is certainly, and
consciously, modeled on the angel at the gates of
Dis, just as the meeting of the ‘Tragedian’ with his
wife is consciously modeled on that of Dante &
Beatrice at the end of the Purgatorio.”
-Collected Letters, Vol. III, 313-14; letter of 28 March 1953, to
William Kinter. (Quoted in “The Dantean Structure of the Great Divorce.”)

The Great Divorce resembles The Divine Comedy in
the following areas:
Structure
 Content
 Theme
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A Brief Word on
The Structure of the Great Divorce
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In his essay, “The Dantean Structure of The
Great Divorce,” Professor Joe R. Christopher
argues that Lewis was consciously imitating The
Divine Comedy in the way he ordered the events
of his story and the encounters between the
“ghosts” and the “solid people.”
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The Beginning contains allusions to “L’Inferno”
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The Middle contains allusions to “Il Purgatorio”
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The urban setting resembles Dis
The bus driver’s reaction to the atmosphere of the town
resembles the reaction the angel at Dis had to the marshes.
The switch to the rural setting has some parallels to the
setting of Purgatory
Discussions of pride, free will, lust purified by fire, and the
meeting of a female saint and her earthly beloved are found
in both works.
The End contains allusions to “Il Paradiso”

The conclusion of the Great Divorce and the beginning Il
Paradiso both depict God in terms of sunlight.
Joe R. Christopher, “The Dantean Structure of the Great Divorce.”
Mythlore 29:3/4 (Spring/Summer 2011) 77-99.
Similarities in Content between
The Divine Comedy and The Great Divorce.
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As mentioned earlier, Lewis acknowledged being
inspired by The Divine Comedy when he was
writing the Great Divorce.
The next several slides will consider some
specific instances where Lewis borrows or
imitates characters and events that appear in The
Divine Comedy.
Angels
Angels

Lewis describes three encounters with angels in The Great
Divorce.
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The Bus Driver
The Angel of the Waterfall
The Fiery Angel
Lewis modeled his depiction of angels as awe-inspiring beings
on what he read in Dante rather than the images found in the
popular culture of his day:
“In Scripture the visitation of an angel is always alarming; it has to begin
by saying 'Fear not.' The Victorian angel looks as if it were going to say,
‘There, there.’ The literary symbols are more dangerous [than sculptures
and pictures] because they are not so easily recognized as symbolical.
Those of Dante are best. Before his angels we sink in awe.”
- Kathryn Lindskoog , “C. S. Lewis's Divine Comedy, ” The Lewis Legacy, Issue 83 (Winter, 2000) http://www.discovery.org/a/775
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The Bus Driver has the strongest connection to the Divine
Comedy, so we will focus on him.
The Bus Driver

In a letter to an American reader, Lewis wrote:
"The closest conscious connection to Dante in G.[reat] Divorce is the angel who drives the bus: cg Inferno IX 79-102.”
- Kathryn Lindskoog , “C. S. Lewis's Divine Comedy, ” The Lewis Legacy, Issue 83 (Winter, 2000) http://www.discovery.org/a/775
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The bus driver and the Angel at Dis both serve the purpose of allowing the
narrators to move forward in their journeys and both make use of similar
gestures.
In the text of The Great Divorce, the driver is not identified as an angel but is
described as follows:
“The Driver himself seemed full of light and he used only one hand to drive with. The other he
waved before his face as if to fan away the greasy steam of the rain.”
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The passengers do not greet his arrival with joy but rather are put off by him
and grumble and complain:
“A growl went up from the queue as he came in sight. "Looks as if he had a good time of it,
eh? ... Bloody pleased with himself, I bet. ... My dear, why can't he behave naturally?-Thinks
himself too good to look at us. ... Who does he imagine he is? ... All that gilding and purple, I
call it a wicked waste. Why don't they spend some of the money on their house property down
here?- God! I'd like to give him one in the ear-'ole." I could see nothing in the countenance of the
Driver to justify all this, unless it were that he had a look of authority and seemed intent on
carrying out his job.”
-The Great Divorce, 13-14
The Angel at the Gate of Dis
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The description of the angel’s
arrival at Dis and his behavior is
similar to the bus driver:
“…I saw more than a thousand
ruined souls scatter away from
one who crossed dry-shod the
Stygian marsh into Hell’s burning
bowels. With his left hand he
fanned away the dreary vapors of
that sink as he approached…”
-Purgatory IX 76-81
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Guides
Guides:
Dante has his Virgil
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In The Divine Comedy, Dante is guided
on his journey through Hell and
Purgatory by Virgil, a figure that
Dante sees as a spiritual father.
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/Gustave_Dor%C3%A9_-_Dante's_Inferno,_Cantos_I_and_II
“Glory and light of poets! now may that
zeal and love’s apprenticeship that I
poured out on your heroic verses serve
me well! For you are my true master and
first author, the sole maker from whom I
drew that breath of that sweet style
whose measures have brought me
honor…”
-The Inferno Canto I, 77-84
and
His Beatrice
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Dante is met in the Earthly Paradise
at the top of the Mountain of
Purgatory by Beatrice who leads
him forward to Heaven.
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Virgil, the light of human reason
vanishes as Beatrice, Dante’s love from
childhood and personification of the
light of Divine Revelation appears.
She admonishes Dante for how he has
lived his life and then brings him to his
final purification which will allow him
to enter Heaven.
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and
Lewis has his MacDonald
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The Narrator is met by the spirit of George
MacDonald.
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George MacDonald (1824-1905) was a Scottish
clergy man and writer of novels and fantasy
stories that Lewis held in high regard.
The role of MacDonald in The Great Divorce is
similar to that played by both Virgil and Beatrice
in The Divine Comedy, but scholars tend to say his
character has more in common with Beatrice.

However, Dante chose to have Virgil as his guide
because he saw him as something of a literary
father and Lewis saw MacDonald the same way:
“I have never concealed the fact that I regarded him as my
master; indeed I fancy I have never written a book in which
I did not quote from him.”
-From preface to George MacDonald: An
Anthology, quoted in The Quotable Lewis, 417.

When MacDonald appears, the Narrator says:
“…Oh!" I cried. "Then you can tell me! You at least will not deceive me." Then,
supposing that these expressions of confidence needed some explanation, I tried,
trembling, to tell this man all that his writings had done for me. I tried to tell how a
certain frosty afternoon at Leatherhead Station when I first bought a copy of
Phantasies (being then about sixteen years old) had been to me what the first sight of
Beatrice had been to Dante: Here begins the New Life. I started to confess how long
that Life had delayed in the region of imagination merely: how slowly and reluctantly I
had come to admit that his Christendom had more than an accidental connexion [sic]
with it, how hard I had tried not to see that the true name of the quality which first
met me in his books is Holiness…”
-The Great Divorce, 65.
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Throughout the rest of the book, MacDonald is with the
Narrator explaining to him what he is seeing and why some
people are able to progress to Heaven while others return to
Hell.
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And, like Beatrice does with Dante, MacDonald takes the Narrator
(Lewis) to task.
MacDonald Take Lewis to Task:

MacDonald describes a man who had spent his life trying to
prove the existence of the survival of the soul after death but
could not embrace the joy of Heaven when he finally arrived.
This exchange follows:
“‘How fantastic!’ said I.
‘Do ye think so?’ said the Teacher with a piercing glance. ‘It is nearer to such as you
than ye think. There have been men before now who got so interested in proving the
existence of God that they came to care nothing for God Himself ... as if the good
Lord had nothing to do but exist! There have been some who were so occupied in
spreading Christianity that they never gave a thought to Christ. Man! Ye see it in
smaller matters. Did ye never know a lover of books that with all his first editions and
signed copies had lost the power to read them? Or an organizer of charities that had
lost all love for the poor? It is the subtlest of all the snares.’”
-The Great Divorce, 70-72
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The Saint
The Saint
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In both The Divine Comedy
and The Great Divorce, the
narrator is awed by the arrival
of a great saint who come in
processions filled with light,
having Angels tossing flower
petals before them.
In The Divine Comedy, it is
Beatrice -See Purgatory, Cantos XXIX-XXX
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A similar procession occurs in The Great Divorce.
“First came bright Spirits, not the Spirits of men, who
danced and scattered flowers-soundlessly falling, lightly
drifting flowers…Then, on the left and right, at each side of
the forest avenue, came youthful shapes, boys upon one
hand, and girls upon the other. If I could remember their
singing and write down the notes, no man who read that
score would ever grow sick or old. Between them went
musicians: and after these a lady in whose honor all this was
being done… ‘Is it? ... is it?’ I whispered to my guide...”

The Narrator at first thinks that it might be Beatrice,
but instead “her name is Sarah Smith and she lived at
Golders Green."
-The Great Divorce, 106-109
Sarah Smith?
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MacDonald says that she is one of the great ones,
who touched every person and even every animal
she met and made them better for having known
her, but she wasn’t any one you’d have ever heard
of.
This character merits particular attention because
Lewis said the episode involving her and her
husband’s ghost were consciously modeled on
Beatrice and Dante’s meeting at the end of the
Purgatorio (See above, slide 7)
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Her husband has become a dwarf, who walks around
with a man puppet that resembles a “Tragedian,”
who merely wallows in self-pity while Sarah tries to
get him to “get over himself ” so that he can join her
in Heaven. Sadly, it is not to be.
-Great Divorce, 109-119
The Power of Fire
The Power of Fire
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In Canto XXVII of Purgatory, Dante, Virgil and Statius pass
through the Wall of Fire which is the last obstacle between them
and the Earthly Paradise. They must pass through it in order to
burn off the last remnants of Lust that exist in their souls.
Dante is terribly frightened of this and must be convinced by
Virgil that it will do him no harm and he will be rewarded by
being reunited with Beatrice.
“My kindly escorts heard me catch my breath and turned, and Virgil said, ‘Within
that flame there may be torment, but there is no death…Think, my son, you shall see
Beatrice when this wall is past.”
-Purgatory, Canto XXVII 19-36.

The heat is so intense, that Dante says he would “gladly have cast
[his] body into boiling glass to cool it against the measureless
fury of the blast.”
-Purgatory, Canto XXVII 49-52.
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One of the most memorable episodes
in The Great Divorce starts when a
ghost appears with a red lizard sitting
on his shoulder.
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The lizard is said to have a whip-like tale
and that it was whispering things into the
ghost’s ear.
The man turns and starts walking
away from the mountains when he is
confronted by an angel who was:
“…more or less human in shape but larger than
a man, and so bright that I could hardly look at
him. His presence smote on my eyes and on my
body too (for there was heat coming from him as
well as light) like the morning sun at the
beginning of a tyrannous summer day.”
-Great Divorce, 97
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The angel asks the man why he is leaving and he is told that the
lizard (his lust) just won’t keep quiet.
The angel offers to silence the lizard and at first the man agrees
but when he realizes that this would mean killing it and it would
also cause him pain, he is pulls back in fear from the angel’s fiery
touch.
Like Virgil the angel convinces the man telling him that it will
hurt, but it wouldn’t kill him. The man agrees:
“ ‘Damn and blast you! Go on can't you? Get it over. Do what you like,’ bellowed the
Ghost: but ended, whimpering, ‘God help me. God help me.’
‘Next moment the Ghost gave a scream of agony such as I never heard on Earth. The
Burning One closed his crimson grip on the reptile: twisted it, while it bit and writhed,
and then flung it, broken backed, on the turf.
‘Ow! That's done for me,’ gasped the Ghost, reeling backwards.”
-Great Divorce, 98-102
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The memorable aspect of this scene is the transformation that follows the
death of the lizard and the collapse of the man:
… I saw, between me and the nearest bush, unmistakably solid but growing every moment
solider, the upper arm and the shoulder of a man…. [I]f my attention had not wavered I
should have seen the actual completing of a man-an immense man, naked, not much smaller
than the Angel. What distracted me was the fact that at the same moment something
seemed to be happening to the Lizard. At first I thought the operation had failed. So far
from dying, the creature was still struggling and even growing bigger as it struggled.
…Suddenly I started back, rubbing my eyes. What stood before me was the greatest stallion
I have ever seen, silvery white but with mane and tail of gold. It was smooth and shining.
-Great Divorce, 102
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The man rides the horse off into the distant mountains and as
he rides off:
“[The Narrator] noticed that the whole plain and forest were shaking with a sound
which in our world would be too large to hear, but there I could take it with joy. I
knew it was not the Solid People who were singing. It was the voice of that earth, those
woods and those waters. A strange archaic, inorganic noise, that came from all
directions at once. The Nature or Arch-nature of that land rejoiced to have been once
more ridden, and therefore consummated, in the person of the horse. It sang,
‘The Master says to our master, Come up. Share my rest and splendor till all natures
that were your enemies become slaves to dance before you and backs for you to ride, and
firmness for your feet to rest on…’”
-Great Divorce, 103

The earth shaking and the singing of a psalm of praise at the
release of soul is reminiscent of the earthquake that greats the
release of the soul of Statius in Canto XX of Purgatory and
singing that accompanies each advance up Purgatory’s cornices.
http://danteworlds.laits.utexas.edu/paradiso/gallery/0106souls.jpg
Gustave Doré
Souls Return to Stars
Common Themes in
The Divine Comedy
&
The Great Divorce.
Common Themes

Certainly, scholars could pull a vast array of
themes that both of these works share. We will
consider two:
Contrapasso
 Freedom of Choice and Its Consequence
These two themes are similar and related but both
deserve individual attention.

Contrapasso
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The strongest thematic connection between The
Divine Comedy and The Great Divorce is the concept
of Contrapasso, or “counter penalty.” It is the idea
that the punishment will fit the crime. In The
Comedy, throughout Hell and Purgatory, we see
that the fates of the damned and the purgations
of the saved all befit their behavior on earth. The
concept is explicitly brought up in Canto XXVIII
of Hell by Bertrand de Born:
“…remember me, I am Betrand de Born, and it was I who
set the young king on mutiny, son against father, father
against son…I bear my brain divided from its source within
this trunk and walk here where me evil turns to pain, an
eye for an eye to all eternity: thus is the law of Hell
observed in me.”
-Inferno, XXVIII, 134-143
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While Lewis does not use the word “contrapasso”
anywhere in The Great Divorce, but he is clear that what
begins in life continues in the afterlife:
“ [MacDonald says]‘…[B]oth good and evil, when they are full grown, become
retrospective. Not only this valley but all this earthly past will have been Heaven to
those who are saved. Not only the twilight in that town, but all their life on earth too,
will then be seen by the damned to have been Hell. That is what mortals
misunderstand. They say of some temporal suffering, 'No future bliss can make up for
it,' not knowing that Heaven, once attained, will work backwards and turn even that
agony into a glory. And of some sinful pleasure they say 'Let me but have this and I'll
take the consequences': little dreaming how damnation will spread back and back into
their past and contaminate the pleasure of the sin. Both processes begin even before
death. The good man's past begins to change so that his forgiven sins and remembered
sorrows take on the quality of Heaven: the bad man's past already conforms to his
badness and is filled only with dreariness. And that is why, at the end of all things,
when the sun rises here and the twilight turns to blackness down there, the Blessed will
say, 'We have never lived anywhere except in Heaven,' and the Lost, 'We were always
in Hell.' And both will speak truly.’”
-Great Divorce, 67-68
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Freedom of Choice
and Its Consequence
Considerations of freedom of choice and its
consequences play a significant role in both The Divine
Comedy and The Great Divorce.
In Canto XVI of Purgatory, Dante includes a discussion
of free will to explain the existence of evil in a world
made by a good God.
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The light of reason tells us right from wrong and free will,
though corrupted by The Fall (“the first battles with the
heavens”), can still choose to do good.
We, as free subjects, can choose to turn from God’s laws and
cling to the lesser pleasures of creation instead of turning to
the higher things.
We are punished or rewarded for our behavior because we are
free.
-Purgatory, Canto XVI 70-85 (and see Ciardi’s notes on same, 425)

In his essay, “A Time to Choose: Finitude, Freedom,
and Eternity in Dante’s ‘Commedia’ and Lewis’s ‘The
Great Divorce,’” Matthew Swift argues that for Dante:
“…freedom may lie in complete conformity to the will of God. His
presentation of eternal death and life…affirm the centrality of human
choice…
‘…If God’s will is, as Dante describes it, an expression of His perfect
freedom and if souls bring their wills closer to God’s will through
obedience, then their obedience brings them closer to true freedom…[it is
seen as] a freedom for the love of God, not as a freedom from external
restraints.”
-Swift, 3

In other words, for Dante, those who choose to cling to their
own wills, rejecting the will of God move themselves away from
God and are punished in Hell and those who choose to conform
to the will of God move closer to Him and are rewarded in
Heaven.

(Purgatory is a preparation for Heaven, so for our purposes it can be
included with Heaven.)

Lewis’ position was similar. He saw that every
person has a choice of either accepting God or
rejecting Him put before him. Although it can
be seen as a single choice, it is lived out in the
countless choices an individual makes across the
span of his life. Every little choice moves one
either closer to God or further away from Him,
until at some point a final, irrevocable choice
has been made.
- See David Clark, C.S. Lewis Goes to Heaven, 99-100

In the preface to The Great Divorce, Lewis wrote:
“[There is a belief] that reality never presents us with an absolutely
unavoidable "either-or"; that, granted skill and patience and (above all)
time enough, some way of embracing both alternatives can always be
found; that mere development or adjustment or refinement will somehow
turn evil into good without our being called on for a final and total
rejection of anything we should like to retain. This belief I take to be a
disastrous error…
‘Evil can be undone, but it cannot "develop" into good…
‘Earth, I think, will not be found by anyone to be in the end a very
distinct place. I think earth, if chosen instead of Heaven, will turn out
to have been, all along, only a region in Hell: and earth, if put second to
Heaven, to have been from the beginning a part of Heaven itself.
-Great Divorce, 5-7

The Narrator wonders about what happens to all the
souls who never make it onto the Bus and he is told
“‘Everyone who wishes it does. Never fear. There are only two
kinds of people in the end: those who say to God, ‘Thy will be
done,’ and those to whom God says, in the end, ‘Thy will be done.’
All that are in Hell, choose it. Without that self-choice there could
be no Hell. No soul that seriously and constantly desires joy will
ever miss it. Those who seek find. To those who knock it is
opened.’”
-The Great Divorce, 72-73
http://vaguemusings.files.wordpress.com/2010/07/great_divorce.jpg

Lewis’ thoughts on the reality that our choices in
this life determine our ultimate fate are best
expressed in his essay, “The Weight of Glory:”
It is a serious thing to live in a society of possible gods and
goddesses, to remember that the dullest and most uninteresting
person you talk to may one day be a creature which, if you
saw it now, you would be strongly tempted to worship, or else a
horror and a corruption such as you now meet, if at all, only
in a nightmare. All day long we are, in some degree, helping
each other to one or other of these destinations.
-Lewis, Weight of Glory, 9
Conclusion


The Great Divorce has been called “C.S. Lewis’
miniature replica of Dante’s Divine Comedy.” Based
on his own words, there is no question that Lewis was
inspired by what Dante had written.
While this presentation focused on those elements by
which the two works resemble each other, there are
significant differences between the works.

For example, Lewis’ description of Hell as the dreary “Grey
City” differs significantly from Dante’s depiction of the
sufferings of the damned.



In the end, Dante and Lewis would both agree
that the choices made by living men and women
echo in eternity.
Either we strive to do the will of God and move
closer to Him or we choose to follow our own
fallen wills and ultimately end up totally cut off
from Him.
The choice, is ours.
Image Credits
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Slide 1
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Slide 2
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C.S. Lewis - http://www.theparisreview.org/blog/wp-content/uploads/2012/11/cs-lewis.jpg
Slide 5
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Divine Comedy Cover - www.us.penguingroup.com/
Great Divorce Cover - http://www.harpercollins.com
London East End - http://www.we-make-money-not-art.com/wow/meHovis8ss-jpg.jpg
Slide 6
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London Bus - http://farm4.staticflickr.com/3538/3306642166_e1379f4ea2.jpg
Aerial view of Ireland’s coastline. Credit: © Goodshoot/Jupiterimages - http://media-1.web.britannica.com/ebmedia/05/99605-004-61D5293E.jpg
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Slide 8
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Signorelli, Luca. Detail from Dante with Scenes from the Divine Comedy
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C.S. Lewis - http://k.b5z.net/i/u/6046487/i/jack.png
Slide 12
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Doré, Gustave. Dante's vision of the Empryean
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http://dante.ilt.columbia.edu/images/dore/docs/par_13_frame.html
- http://s1.hubimg.com/u/4242412_f260.jpg
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Slide 15
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Blake, William. The Angel at the Gate of Dis.
http://www.blakearchive.org/exist/blake/archive/object.xq?objectid=but812.1.wc.20&java=no
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Slide 16
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Dante and Virgil - www2.bc.edu/katie-frake/danteandvirgil.png
Slide 17
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Doré, Gustave. Dante meets Virgil http://commons.wikimedia.org/wiki/Commons:Valued_image_candidates/Gustave_Dor%C3%A9__Dante's_Inferno,_Cantos_I_and_II
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Slide 18
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Rossetti, Dante Gabriel. The Meeting of Dante and Beatrice in Paradise.
http://www.artrenewal.org/pages/artist.php?artistid=76
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Slide 19
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George MacDonald - http://starspictu.com/imgs/george-macdonald-02.html
Slide 22
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Fra Angelico. The Forerunners of Christ with Saints and Martyrs.
http://www.catholicradiodramas.com/wp-content/uploads/2010/07/SaintsANGELICO14303.jpg
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Slide 23
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Doré, Gustave. Beatrice.
http://www.divinecomedy.org/divine_comedy.php3?gallery?slide?Dore?Dore%27s%20Purgatorio?pur_30.jpg
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Slide 25
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Slide 28
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Doré, Gustave. Souls Return to Stars.
http://danteworlds.laits.utexas.edu/paradiso/gallery/0106souls.jpg
Slide 34
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The Red Lizard - http://www1.libertychristianministries.org.au/wp-content/uploads/2012/10/red-lizard.png
Slide 32
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Nelson, Owen. The Great Divorce. http://owennelsonexpression.blogspot.com/2010/06/great-divorce.html
Robertson, Suloni. Bertrand de Born. http://danteworlds.laits.utexas.edu/gallery/1105bertran.jpg
Slide 40
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Bus to Purgatory. http://vaguemusings.files.wordpress.com/2010/07/great_divorce.jpg