{"id":677,"date":"2018-10-20T23:23:16","date_gmt":"2018-10-20T23:23:16","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-americanlit2\/?post_type=chapter&#038;p=677"},"modified":"2018-10-20T23:26:20","modified_gmt":"2018-10-20T23:26:20","slug":"the-inferno-comprehension-questions","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/chapter\/the-inferno-comprehension-questions\/","title":{"raw":"The Inferno Comprehension Questions","rendered":"The Inferno Comprehension Questions"},"content":{"raw":"Answer these questions in complete sentences, citing where necessary.\u00a0 Along with the questions, I am providing some background and reading reminders that may help you experience <em>The Inferno<\/em> more fully.\u00a0 (Doesn\u2019t that sound sinister?\u00a0 Well, I am left handed. . . and \u201csinister\u201d means left in Latin!)\u00a0 If you see just a name listed below, establish the figure and its significance.\u00a0\u00a0 (Who is it?\u00a0 Why do they matter?)\r\n\r\n<strong>Reading Tips<\/strong>\r\n<ul>\r\n \t<li>Reread passages aloud<\/li>\r\n \t<li>Read slower than you usually do<\/li>\r\n \t<li>Consider line breaks and the logic of what\u2019s contained in each stanza (and canto)<\/li>\r\n \t<li>Adopt a tone when reading dialogue<\/li>\r\n \t<li>Boil down longer passages<\/li>\r\n \t<li>When Dante asks you to hear or visualize something\u2014or, worse, to smell it\u2014slow down and try that!<\/li>\r\n \t<li>Utilize the notes by reading them first in some cantos, and second in others. Either way, keep a bookmark in those notes.<\/li>\r\n \t<li>When you get stuck by a word or phrase, reorder it. Failing that, you can safely ignore some troublesome passages.\u00a0 Hint: Overlooking things too often is as much of a problem as never doing this!<\/li>\r\n \t<li>Glance at the Italian on the facing pages. . . you\u2019d be surprised at how it can help!<\/li>\r\n \t<li>Use the sites in the External links to help you with the details.<\/li>\r\n<\/ul>\r\n<strong>Canto I<\/strong>\r\n<ol>\r\n \t<li>Analyze the first stanza of the poem. What is Dante\u2019s difficulty?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"2\">\r\n \t<li>What are the three beasts that hinder Dante? Of what are each of the three beasts symbolic? (They differ, so explain each.)<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"3\">\r\n \t<li>Why must Dante journey all the way through Hell?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"4\">\r\n \t<li>Who is Virgil, this guide for Dante\u2019s journey through Hell? Why is he a fitting guide\u2014especially for Dante?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n<strong>Canto II<\/strong>\r\n<ol start=\"5\">\r\n \t<li>There are three religious women who aid the fearful Dante in this canto. Who are the most important two of the three? Why are they important?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n<strong>Canto III<\/strong>\r\n\r\n--Lack of decision and lack of fame are important faults.\u00a0 Pay attention to the ways the damned communicate with Dante, asking him for fame in the world.\u00a0 Also pay attention to the metaphorical use of numbers in the book.\r\n<ol start=\"6\">\r\n \t<li>Living without infamy or praise: Why are the angels who were neutral here?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol start=\"7\">\r\n \t<li>Charon<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"8\">\r\n \t<li>Why does Dante swoon?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n<strong>Canto IV<\/strong>\r\n\r\nBaptism\u2014among other things\u2014is required for entry into Heaven.The epical catalogue, a convention of the epic poem, is evident here.\u00a0 You will see such listing used elsewhere for effect.\r\n<ol start=\"9\">\r\n \t<li>Why are Horace, Lucian, Ovid, and Virgil placed in this area on the outskirts of Hell?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Canto V<\/strong>\r\n<ol start=\"10\">\r\n \t<li>Minos. Additionally, analyze the way that Minos judges where to put sinners.<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"11\">\r\n \t<li>Why are those who put the body ahead of the will relatively minor sinners here?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"12\">\r\n \t<li>What is the significance of the story of Paolo and Francesca, the lovers?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"13\">\r\n \t<li>Why are so many women depicted in this canto?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n<strong>Canto VI<\/strong>\r\n\r\nRemember idea of sinners punished according to the degree and kind of their faults.\r\n<ol start=\"14\">\r\n \t<li>Ciacco<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"15\">\r\n \t<li>Cerberus<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n<strong>Canto VII<\/strong>\r\n<ol start=\"16\">\r\n \t<li>Why are the avaricious and the prodigal put together into the same circle?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Canto VIII <\/strong>\r\n<ol start=\"17\">\r\n \t<li>Filippo Argenti<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"18\">\r\n \t<li>Why does Dante wish to see the soul in the water punished even further by Phlegyas? Explain.<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"19\">\r\n \t<li>How is the guide challenged?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n<strong>Canto IX<\/strong>\r\n<ol start=\"20\">\r\n \t<li>Why are the three Greek Furies used in a Christian poem?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"21\">\r\n \t<li>What is the logic by which the heavenly messenger gets his way and opens the door?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n<strong>Canto X<\/strong>\r\n<ol start=\"22\">\r\n \t<li>Why is Farinata here?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"23\">\r\n \t<li>What is the punishment of the heretics?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"24\">\r\n \t<li>How are Farinata and Guido linked to Dante?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n<strong>Canto XI<\/strong>\r\n<ol start=\"25\">\r\n \t<li>Anastasius<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"26\">\r\n \t<li>How is lower hell organized, according to Virgil?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Canto XII<\/strong>\r\n<ol start=\"27\">\r\n \t<li>Apply the idea of <em>contrapasso<\/em>, or just punishment, to the miseries in the seventh circle.<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Canto XIII<\/strong>\r\n<ol start=\"28\">\r\n \t<li>Harpies<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"29\">\r\n \t<li>What physical imagery is used to depict (show) those who have committed violence against themselves?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Canto XV<\/strong>\r\n<ol start=\"30\">\r\n \t<li>Brunetto Latini<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Canto XVII<\/strong>\r\n<ol start=\"31\">\r\n \t<li>Describe Geryon<\/li>\r\n<\/ol>\r\n&nbsp;\r\n<ol start=\"32\">\r\n \t<li>Why do the travelers eventually have to fly on Geryon? Is there symbolism at work here?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol start=\"33\">\r\n \t<li>Why are the usurers, those who exact interest payments for loans, so low in Hell?<\/li>\r\n<\/ol>\r\n<strong>Cantos XVIII-XXXI<\/strong>\r\n<ol start=\"34\">\r\n \t<li>List each pocket of Malebolge and describe at least one figure within each pocket who best represents that pocket\u2019s infraction.<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>\u00a0<\/strong>\r\n\r\n<strong>Canto XXI<\/strong>\r\n<ol start=\"35\">\r\n \t<li>What is humorous about the actions of the demons of Malebranche (\u201cevil-claws\u201d)?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n<strong>Canto XXVI<\/strong>\r\n<ol start=\"36\">\r\n \t<li>Ulysses<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n<strong>Canto XXXI<\/strong>\r\n<ol start=\"37\">\r\n \t<li>Why are Giants placed so low in Hell? Explain.<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n<strong>Canto XXXIV<\/strong>\r\n<ol start=\"38\">\r\n \t<li>How is Lucifer depicted? Why is this fitting?<\/li>\r\n<\/ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol start=\"39\">\r\n \t<li>Describe the physical layout of the passage from Hell.<\/li>\r\n<\/ol>","rendered":"<p>Answer these questions in complete sentences, citing where necessary.\u00a0 Along with the questions, I am providing some background and reading reminders that may help you experience <em>The Inferno<\/em> more fully.\u00a0 (Doesn\u2019t that sound sinister?\u00a0 Well, I am left handed. . . and \u201csinister\u201d means left in Latin!)\u00a0 If you see just a name listed below, establish the figure and its significance.\u00a0\u00a0 (Who is it?\u00a0 Why do they matter?)<\/p>\n<p><strong>Reading Tips<\/strong><\/p>\n<ul>\n<li>Reread passages aloud<\/li>\n<li>Read slower than you usually do<\/li>\n<li>Consider line breaks and the logic of what\u2019s contained in each stanza (and canto)<\/li>\n<li>Adopt a tone when reading dialogue<\/li>\n<li>Boil down longer passages<\/li>\n<li>When Dante asks you to hear or visualize something\u2014or, worse, to smell it\u2014slow down and try that!<\/li>\n<li>Utilize the notes by reading them first in some cantos, and second in others. Either way, keep a bookmark in those notes.<\/li>\n<li>When you get stuck by a word or phrase, reorder it. Failing that, you can safely ignore some troublesome passages.\u00a0 Hint: Overlooking things too often is as much of a problem as never doing this!<\/li>\n<li>Glance at the Italian on the facing pages. . . you\u2019d be surprised at how it can help!<\/li>\n<li>Use the sites in the External links to help you with the details.<\/li>\n<\/ul>\n<p><strong>Canto I<\/strong><\/p>\n<ol>\n<li>Analyze the first stanza of the poem. What is Dante\u2019s difficulty?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"2\">\n<li>What are the three beasts that hinder Dante? Of what are each of the three beasts symbolic? (They differ, so explain each.)<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"3\">\n<li>Why must Dante journey all the way through Hell?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"4\">\n<li>Who is Virgil, this guide for Dante\u2019s journey through Hell? Why is he a fitting guide\u2014especially for Dante?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Canto II<\/strong><\/p>\n<ol start=\"5\">\n<li>There are three religious women who aid the fearful Dante in this canto. Who are the most important two of the three? Why are they important?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Canto III<\/strong><\/p>\n<p>&#8211;Lack of decision and lack of fame are important faults.\u00a0 Pay attention to the ways the damned communicate with Dante, asking him for fame in the world.\u00a0 Also pay attention to the metaphorical use of numbers in the book.<\/p>\n<ol start=\"6\">\n<li>Living without infamy or praise: Why are the angels who were neutral here?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<ol start=\"7\">\n<li>Charon<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"8\">\n<li>Why does Dante swoon?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Canto IV<\/strong><\/p>\n<p>Baptism\u2014among other things\u2014is required for entry into Heaven.The epical catalogue, a convention of the epic poem, is evident here.\u00a0 You will see such listing used elsewhere for effect.<\/p>\n<ol start=\"9\">\n<li>Why are Horace, Lucian, Ovid, and Virgil placed in this area on the outskirts of Hell?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Canto V<\/strong><\/p>\n<ol start=\"10\">\n<li>Minos. Additionally, analyze the way that Minos judges where to put sinners.<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"11\">\n<li>Why are those who put the body ahead of the will relatively minor sinners here?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"12\">\n<li>What is the significance of the story of Paolo and Francesca, the lovers?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"13\">\n<li>Why are so many women depicted in this canto?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Canto VI<\/strong><\/p>\n<p>Remember idea of sinners punished according to the degree and kind of their faults.<\/p>\n<ol start=\"14\">\n<li>Ciacco<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"15\">\n<li>Cerberus<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Canto VII<\/strong><\/p>\n<ol start=\"16\">\n<li>Why are the avaricious and the prodigal put together into the same circle?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Canto VIII <\/strong><\/p>\n<ol start=\"17\">\n<li>Filippo Argenti<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"18\">\n<li>Why does Dante wish to see the soul in the water punished even further by Phlegyas? Explain.<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"19\">\n<li>How is the guide challenged?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Canto IX<\/strong><\/p>\n<ol start=\"20\">\n<li>Why are the three Greek Furies used in a Christian poem?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"21\">\n<li>What is the logic by which the heavenly messenger gets his way and opens the door?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Canto X<\/strong><\/p>\n<ol start=\"22\">\n<li>Why is Farinata here?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"23\">\n<li>What is the punishment of the heretics?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"24\">\n<li>How are Farinata and Guido linked to Dante?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Canto XI<\/strong><\/p>\n<ol start=\"25\">\n<li>Anastasius<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"26\">\n<li>How is lower hell organized, according to Virgil?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Canto XII<\/strong><\/p>\n<ol start=\"27\">\n<li>Apply the idea of <em>contrapasso<\/em>, or just punishment, to the miseries in the seventh circle.<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Canto XIII<\/strong><\/p>\n<ol start=\"28\">\n<li>Harpies<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"29\">\n<li>What physical imagery is used to depict (show) those who have committed violence against themselves?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Canto XV<\/strong><\/p>\n<ol start=\"30\">\n<li>Brunetto Latini<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Canto XVII<\/strong><\/p>\n<ol start=\"31\">\n<li>Describe Geryon<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<ol start=\"32\">\n<li>Why do the travelers eventually have to fly on Geryon? Is there symbolism at work here?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<ol start=\"33\">\n<li>Why are the usurers, those who exact interest payments for loans, so low in Hell?<\/li>\n<\/ol>\n<p><strong>Cantos XVIII-XXXI<\/strong><\/p>\n<ol start=\"34\">\n<li>List each pocket of Malebolge and describe at least one figure within each pocket who best represents that pocket\u2019s infraction.<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Canto XXI<\/strong><\/p>\n<ol start=\"35\">\n<li>What is humorous about the actions of the demons of Malebranche (\u201cevil-claws\u201d)?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Canto XXVI<\/strong><\/p>\n<ol start=\"36\">\n<li>Ulysses<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Canto XXXI<\/strong><\/p>\n<ol start=\"37\">\n<li>Why are Giants placed so low in Hell? Explain.<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Canto XXXIV<\/strong><\/p>\n<ol start=\"38\">\n<li>How is Lucifer depicted? Why is this fitting?<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<ol start=\"39\">\n<li>Describe the physical layout of the passage from Hell.<\/li>\n<\/ol>\n\n\t\t\t <section class=\"citations-section\" role=\"contentinfo\">\n\t\t\t <h3>Candela Citations<\/h3>\n\t\t\t\t\t <div>\n\t\t\t\t\t\t <div id=\"citation-list-677\">\n\t\t\t\t\t\t\t <div class=\"licensing\"><div class=\"license-attribution-dropdown-subheading\">Public domain content<\/div><ul class=\"citation-list\"><li>The Inferno Comprehension Questions. <strong>Authored by<\/strong>: Josh Dickinson. <strong>Provided by<\/strong>: Jefferson Community College. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"http:\/\/www.sunyjefferson.edu\">http:\/\/www.sunyjefferson.edu<\/a>. <strong>Project<\/strong>: Studies in Mythology. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/\">CC BY-NC-SA: Attribution-NonCommercial-ShareAlike<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":53936,"menu_order":5,"template":"","meta":{"_candela_citation":"[{\"type\":\"pd\",\"description\":\"The Inferno Comprehension Questions\",\"author\":\"Josh Dickinson\",\"organization\":\"Jefferson Community College\",\"url\":\"www.sunyjefferson.edu\",\"project\":\"Studies in Mythology\",\"license\":\"cc-by-nc-sa\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-677","chapter","type-chapter","status-publish","hentry"],"part":26,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/pressbooks\/v2\/chapters\/677","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/wp\/v2\/users\/53936"}],"version-history":[{"count":3,"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/pressbooks\/v2\/chapters\/677\/revisions"}],"predecessor-version":[{"id":680,"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/pressbooks\/v2\/chapters\/677\/revisions\/680"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/pressbooks\/v2\/parts\/26"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/pressbooks\/v2\/chapters\/677\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/wp\/v2\/media?parent=677"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/pressbooks\/v2\/chapter-type?post=677"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/wp\/v2\/contributor?post=677"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-jeffersoncc-mythology\/wp-json\/wp\/v2\/license?post=677"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}