the year 1300, Dante Alighieri employed the concept of taking Virgil as his guide through Inferno (and then, in the second canticle, up the mountain of Purgatorio). Virgil himself is not condemned to hell proper in Dante's poem but is rather, as a virtuous pagan, confined to Limbo just at the edge of hell. The geography of hell is very elaborately laid out in this work, with nine concentric rings leading deeper into Earth, and deeper into the various punishments of hell, until, at the center of the world, Dante finds Satan himself trapped in the frozen lake of Cocytus. A small tunnel leads past Satan and out to the other side of the world, at the base of the Mount of Purgatory. John Milton's Paradise Lost (1667) opens with the fallen angels, including their leader Satan, waking up in hell after having been defeated in the war in heaven and the action returns there at several points throughout the poem. Milton portrays hell as the abode of the demons, and the passive prison from which they plot their revenge upon heaven through the corruption of the human race. 19th-century French poet Arthur Rimbaud alluded to the concept as well in the title and themes of one of his major works, A Season in Hell (1873). Rimbaud's poetry portrays his own suffering in a poetic form as well as other themes. Many of the great epics of European literature include episodes that occur in hell. In the Roman poet Virgil's Latin epic, the Aeneid, Aeneas descends into Dis (the underworld) to visit his father's spirit. The underworld is only vaguely described, with one unexplored path leading to the punishments of Tartarus, while the other leads through Erebus and the Elysian Fields. The idea of hell was highly influential to writers such as Jean-Paul Sartre who authored the 1944 play No Exit about the idea that "Hell is other people". Although not a religious man, Sartre was fascinated by his interpretation of a hellish state of suffering. C.S. Lewis's The Great Divorce (1945) borrows its title from William Blake's Marriage of Heaven and Hell (1793) and its inspiration from the Divine Comedy as the narrator is likewise guided through hell and heaven. Hell is portrayed here as an endless, desolate twilight city upon which night is imperceptibly sinking. The night is actually the Apocalypse, and it heralds the arrival of the