6 Gates Of Hell

[Salvador Baltimore]

Thegates of hell are various places on the surface of the world that have acquired a legendary reputation for being entrances to the underworld. Often they are found in regions of unusual geological activity, particularly volcanic areas, or sometimes at lakes, caves, or mountains.

Legends from both ancient Greece and Rome record stories of mortals who entered or were abducted into the netherworld through such gates. Aeneas visited the underworld, entering through a cave at the edge of Lake Avernus on the Bay of Naples.[1] Hercules entered the Underworld from this same spot. In the middle of the Roman Forum is another entrance, Lacus Curtius, where according to legend, a Roman soldier named Curtius, bravely rode his horse into the entrance in a successful effort to close it, although both he and his horse perished in the deed.[2]

Pluto's Gate, Ploutonion in Greek, Plutonium in Latin, in modern-day Turkey unearthed by Italian archaeologists is said to be the entry gate to the Underworld; it is linked to the Greco-Roman mythology and tradition.[7]

Auguste Rodin was commissioned to make a pair of bronze doors to symbolize the gates of hell. He received the commission on August 20, 1880, for a new art museum in Paris, to exhibit at the 1889 Exposition Universelle, which ultimately did not open; however in 1900, some of them were part of his first solo exhibition in Paris. Rodin spent seven years making the doors, with over 200 figures appearing on it. He was first inspired by Dante's Inferno but focused more on universal human emotions. During his lifetime the model was never cast and it was first cast in 1925. The Gates of Hell was described as one of the defining works of Rodin.[9][10] Having hoped to exhibit his Gates at the 1889 Exposition Universelle, but probably too busy to finish them, the sculptor stopped working on them circa 1890.

In 1878, Rev. Thomas De Witt Talmage delivered a widely reprinted sermon titled "The Gates of Hell" at the Brooklyn Tabernacle, based on the scripture Matthew 16:18, message by Jesus to Peter "...on this rock, I will build my church, and the gates of Hell shall not prevail against it." Talmage's gates were metaphorical, including "infamous literature," "dissolute dance," "indiscreet apparel," and "alcoholic beverage".[22][23]

In ancient Indian Hindu tradition the Orion constellation where the vernal equinox is stated to occur, the Milky Way and the Canis were considered to form the border between Devaloka (heaven) and Yamaloka (hell); the Milky Way forming the dividing river between heaven and hell and the Canis Major and Canis Minor representing dogs that guarded the Gates of Hell.[24]

Because of what is going on, a number of people find themselves moving toward the gates of hell. One is a psychic and a reporter who saved her from being buried alive. They are searching for the source of her vision.

Do we really need to know why the two couples finally meet? Would the film be improved if there were an extra scene in the film that clarified this? I think it would be worse. It would be like those horrible quasi-scientific explanations in absurd 1950s science fiction films.

After the gates of hell are all taken care of, the surviving people walk out of the tomb where the gates were. They see John-John running toward them smiling. John-John has seen his family eaten by zombies and so this should represent a happy ending.

A woman from New York, Liza (Catriona MacColl), inherits an abandoned hotel in Louisiana. But it has a history (laid out in an opening sequence about a mob killing a painter who they claim is a warlock). You should not be surprised to hear that this hotel is located on top of one of the seven gates of hell.

Unlike The Three Mothers trilogy, which took 30 years to complete, the Gates of Hell trilogy was completed in just over a year when The House by the Cemetery was released in Italy on 14 August 1981. (The trilogy took one and a half years in the US with its release on 30 March 1984.)

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Masaya city is only 14 kms. (8.6 miles) from Granada and is actually the third largest city in Nicaragua. It is most famous for its enclosed market which we stopped at briefly and I was not impressed. Most of what was for sale was the same from booth to booth which tends to make me think it is not a local product, but possibly made in you know where. Over the course of this Central American adventure we visited many markets that were much more lively, colourful and authentic than that of Masaya. The real reason to come here is to visit the volcano which is just on the outskirts of the city.

After paying the entry fee our bus heads up the side of the mountain to the interpretive centre which is well worth visiting. Here our excellent local guide Aura Munguia gives us the history of the volcano and its relationship with the local people who have lived in its shadow for thousands of years. As an active volcano Masaya would erupt with unpredictable frequency which not surprisingly made it an object of fear and reverence for these pre-colonial peoples. It is reported that human sacrifices, especially of children, were made to abate the fury of Masaya and that is what is depicted in this painting. The spirit of Masaya is depicted as a horrible witch that needs to be appeased and the children on the right are the objects to be sacrificed.

Also of interest in the interpretive centre is this model of the Nicaraguan portion of the Central American Volcanic Belt which is perhaps the defining natural feature of this country, El Salvador and Guatemala. Over the next few weeks we will be visiting or at least seeing many of the most famous of these Central American giants.

During our visit to Los Isletas Victor spotted bats sleeping on the upraised keel of a sailboat and today one of the group spotted these bats hanging from the ceiling in a darkened area. There are 94 species of bats in Nicaragua and they are vital for insect control and flower pollination. Unfortunately the fact that three of the species are true vampire bats has caused people to overreact and persecute all bat species, not only to their detriment, but ours as well. Only belatedly are countries like Nicaragua realizing just how important bats are to a healthy environment. The fact that these have been left alone here is a good sign.

Boarding the bus we take the winding road that goes right up the a parking area just below the rim. Along the way there are telltale signs of recent eruptions like this lava flow that occurred quite recently.

Lastly something completely timely. See that rope stretching across part of the crater. On March 4 Nik Wallenda, last of the famed Flying Wallendas will attempt an 1,800 foot crossing of Masaya which will be broadcast live on ABC. During our visit preparations were well underway to get the tightrope properly positioned. I certainly have March 4th marked on my calendar to find out if Nik makes it across or goes straight to hell.

From time to time I will be offering examples of encounters with images from poetry. The point is to show what we might learn from the poets about how to better engage with images in our dreams.

There is another language that has become foreign for too many of us, the language of images. We have forgotten how to read images, how to respond to them. To gain benefit from our dreams, we must learn how to stand before the images.

The lines are usually capitalized because the words are set apart from the rest of the poem. Though they too are written by Dante the poet, the words themselves have become a thing that speaks to us. Through these words, the gate of hell, which is not really described, acquires a voice.

A great poem like The Commedia cannot be skimmed, but rather we have to slow down and take the time to visualize the images suggested by the words. Otherwise we are not reading the images. And that is part of what I take away from this important image at the very beginning of the journey into hell, the image of a gate that has writing on it.

We might say, an image is a gate. We pass through the gate by learning how to read the feelings inscribed within the image. Then and only then can we journey more deeply and make the descent into the underworld which is the place where we learn to visualize our suffering.

Here we get the only physical description of the gate and it is quite minimal: a gate with dark letters written overhead. When we compare these few words to the interpretation of the various artists, we see how much is left to be filled in with imagination.

There is no use generalizing. An image that we feel acquires meaning for us. It especially acquires meaning as we are aware of our own vulnerability, our own need for comfort and love, our own terror of the night and of the dark and of death.

How can an image of a coat on a coat-hanger be powerful? Unacknowledged fear may cause us to avoid the feelings inscribed in an image. But knowing our fear allows us to be vulnerable enough to receive the image.

In the dream the engagement with an image or imago may be missed. But we can give the dream a second chance to live in the session. This is why we speak in Natural Dreamwork of bringing the dream to life.

Thus, it seems clear that our Lord uses the word gates in a figurative rather than literal sense. He likely means that the powers of Hell would not prevail against the Church, although they will surely try.

Thank you for bringing up an interesting question, answer to which most Catholic assume they know , yet the question does one ponder .

Bl.Mother has a tile as The Gate of Heaven, thus , could not the gate of hell be whatever , who ever opposes

The Mother and The Church for which She stands as personification .

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