Dante Alighieri invokes both classical and medieval conceptions of wetlands to characterize the swamps of Inferno as morally and physically liminal spaces. This paper examines the multivalent functions of swamps—paludi in the original Tuscan of the Divine Comedy—to understand collapsed distinctions between the opposing forms of physical matter of Hell’s landscape (dirt, water) and opposing forms of divine judgement (damnation, salvation). The swamps of Inferno slow down the narrative as Dante carefully navigates the peculiar marshy formations which divide various levels and circles of the underworld. The paludi of Inferno only become traversable—and comprehensible—when the poet leaves behind his human pity for a reinforced belief in the righteousness of God’s rulings. An ecocritical assessment of the status of swamps as borderlands, as well as an examination of the classical precedents to Dante’s treatment of swamps, build a framework for understanding the complexities of wetlands as both generative spaces and sites of decay and death in Inferno.

中文翻译：

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Discors Concordia：在但丁的地狱中作为边疆的沼泽

但丁·阿利吉耶里 (Dante Alighieri) 援引古典和中世纪的湿地概念，将地狱的沼泽描述为道德和物理界限空间。本文研究了沼泽的多价功能——原版托斯卡纳神曲中的 paludi——以了解地狱景观的物理物质的对立形式（泥土、水）与神圣审判的对立形式（诅咒、救赎）之间的崩溃区别。地狱的沼泽减慢了叙述的速度，但丁小心翼翼地驾驭了划分黑社会各个层次和圈子的奇特沼泽地层。只有当诗人将人类的怜悯抛在脑后，对上帝统治的正义性的强化信念时，地狱的帕鲁迪才变得可以穿越和理解。对沼泽作为边境地区的生态批判性评估，