Within the depth-psychology corpus, Hell functions far less as a doctrinal afterlife destination than as a living symbolic register for the psyche’s extremity. Jung, in the Red Book, treats Christ’s descent into Hell not as historical curiosity but as an enacted paradigm: the necessary penetration of the deepest unconscious, where folly and the ‘holiest mysteries’ are inseparable. Edinger draws on Origen to reframe hellfire as psychologically interior — the sinner’s own passions as tormenting flame, a reading he calls ‘remarkably psychological.’ Campbell, drawing on Spengler, insists that the Gothic vision of Hell and the Virgin Mary are symbolically co-dependent: neither image can exist without its polar opposite. He further pursues, via Blake and Dante, the paradox that Hell may be one’s ‘proper place,’ furnishing a dark joy inaccessible to the outsider’s perspective. Hollis, following Milton, locates Hell in the self that cannot escape itself — ‘Which way I fly is Hell; myself am Hell.’ Hillman uses Dante’s ice-bottomed Hell to anatomize Hitler’s ‘cold heart.’ Zimmer, via Vasubandhu, radically subjectivizes Hell: it is nothing but a projection of ignorance, a ‘notion of hell inflicted on us by our peculiar style of imagination.’ Across these positions, Hell operates as a mirror of the unconscious — punitive, transformative, and inescapably subjective.