...August 20, 2015 3.2.13 Practice: Revision Strategies The tempest one of the most difficult Shakespearean works in my opion to stage, from its stormy, chaotic first scene to its sureality to its ambiguous resolution, with Prospero facing his silent, treacherous brother and renouncing the power that has made every action in the story possible. Potent language remains the central force and mystery of this fathomless play. Prospero speaks almost a third of the lines in The Tempest, and controls the amount of speech every other character on the island has through manipulation and magic. Prospero’s narrative of how he came to the island, what he did once there, and what he is owed for this history, goes largely unchallenged in the text. Yet the play offers innumerable readings and opportunities for alternate staging, particularly in light of postcolonial discourse about Prospero’s relationship with Ariel and Caliban, the legitimacy of his authority, and the nature of his magic and command over language. Though Prospero can be played many ways, there is no doubt he is The Tempest’s show runner. The metatheatrical nature of the play sometimes detracts from its action on the page, but it also offers the chance to explore exactly why Prospero needs an audience for his revenge, and whether or not it satisfies him, onstage. Prospero restricts the sight and knowledge of the other characters, putting them to sleep or manipulating them with invisible forces, but he often lets us, the audience...
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...The Beasts and Monsters in Dante's Inferno The Inferno is the first section of Dante's three-part poem, The Divine Comedy. Throughout Dante's epic journey into the depths of Inferno he encounters thirty monsters and five hybrid creatures. The most significant of these monsters are of central importance to his journey and to the narrative, as they not only challenge Dante's presence in Inferno, but are custodians of Hell, keeping in order or guarding the "perduta gente". In this essay I am concentrating on these prominent beasts, namely Minos, Cerberus, Plutus and Geryon, establishing why they feature in Dante's eschatological vision and discussing the sources which influenced his inclusion of these particular creatures. These four monsters all fulfil important functions as well as representing important themes in Inferno, establishing them as symbols which reinforce Dante's allegory. Minos, as the infernal judge and agent of God's justice, represents our own conscience and morality. When the sinners come before him "tutta si confessa", which causes the reader to reflect on their own sins.His terrifying treatment of the souls is significant as after Charon, he is one of the first figures who they encounter on their passage into Hell, and his unique method of demonstrating which area of Hell that the souls should be sent to increases the horror and adds to the alarming atmosphere. His warning to Dante, is similar to several of the infernal custodians, who continually remind...
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...To merely say that Dante was interested in the world of hell would be an understatement. His needs to explore and write about the nine different realms could best be described as an obsession. It’s an adventure, a tale, a dream (or nightmare) of different historical, biblical, and Greek gods and creatures living their lives in the afterlife of the underground world. Each level has its own form of punishment fitting the crime one has committed. Level one, Limbo: for those who have not acted upon sin to be punished for, but rather didn’t accept Christ as their savior. Those in Limbo aren’t harmed or living in suffering. They live in a deficient form of heaven. The place is green and peaceful, but the people there are full of sorrow and sadness. Because they lacked the initiative to accept God, they are punished by not being put in heaven and instead rest in a place that’s almost like it, minus state of mind of living in eternity with an overwhelming feeling of joy. They did not turn away from God, but at the same time did not let Him in their lives. The people here live in constant hope that God will again descend from Heaven and save their souls like he has before, but their desire is the only thing they live off of. Those that have sought after lust or have let it control their lives are stuck in the second level of hell. They are swayed restlessly by the strong winds of a storm. They are the first ones to be punished in hell. “the sins or crimes are mostly...
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...The Devil and the Modern Manager The Devil and the Modern Manager Organizational lessons from the Inferno – first part of Dante’s Divine Comedy By Mainak Sankar Maiti (1730 words) Fig 1 – “The Abyss of Hell” by Sandro Botticelli1 Introduction Dante Alighieri wrote the epic poem “Divine Comedy” (Italian: Divina Commedia) in the period 1308 A.D to 1321 A.D. Considered one of the greatest works on World literature, the poem is an allegorical representation of man’s journey towards God. The poem is divided in three parts: Inferno, Purgatorio, and Paradiso. Of all the three parts, Inferno remains the most celebrated and the most influential till date. Numerous artworks and books have been inspired by the Inferno. The works inspired by the Inferno range 1|P age The Devil and the Modern Manager from the Renaissance painter Botticelli’s illustrations of the hell to modern computer games. More than seven hundred years have passed; however, the Inferno continues to enthral readers all around the world. But, does the Inferno have anything in store for a manager seeking to achieve organizational efficiency? Dante’s macabre vision of hell was brought to life by Botticelli in his infamous painting “The Map of Hell” or, “The Abyss of Hell”, which remains one of the most fear-invoking artworks of all time. But, can that work invoke some new thoughts in the mind of a management student and expand his span of thinking, his horizons? Hell – the Model Organization “Organizational...
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...St. Thomas Aquinas’ “Summa Theologica” he bases the relationship between nature and grace on the human purpose. Since we are all rational beings with an ultimate goal of reuniting with God, Aquinas’ believes that both grace and nature will allow us to achieve the human goal. Aquinas explains that reason and revelation parallel moral development of virtue and grace. Reason is something you can practice, much like the four cardinal virtues temperance, courage, justice, and wisdom. These three theological virtues faith, hope and love help you achieve grace. These virtues come from gift of God’s grace and perfect the natural abilities of humans to know and love. “According to Thomas natural reason can know the external world without divine illumination and can discern the structure of created things through its sciences. Reason has a legitimate domain in analyzing the human person, ethics and politics. Thomas even extends reason’s competence to certain ‘spiritual’...
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...Analysis of Major Characters Dante Alighieri Thirty-five years old at the beginning of the story, Dante—the character as opposed to the poet—has lost his way on the “true path” of life; in other words, sin has obstructed his path to God. The Divine Comedy is the allegorical record of Dante’s quest to overcome sin and find God’s love; in Inferno, Dante explores the nature of sin by traveling through Hell, where evil receives punishment according to God’s justice. Allegorically, Dante’s story represents not only his own life but also what Dante the poet perceived to be the universal Christian quest for God. As a result, Dante the character is rooted in the Everyman allegorical tradition: Dante’s situation is meant to represent that of the whole human race. For this reason, Dante the character does not emerge as a particularly well-defined individual; although we know that he has committed a never-specified sin and that he participates in Florentine politics, we learn little about his life on Earth. His traits are very broad and universal: often sympathetic toward others, he nonetheless remains capable of anger; he weeps at the sight of the suffering souls but reacts with pleasure when one of his political enemies is torn to pieces. He demonstrates excessive pride but remains unsatisfied in many respects: he feels that he ranks among the great poets that he meets in Limbo but deeply desires to find Beatrice, the woman he loves, and the love of God. Dante fears danger but shows...
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...The Sounds of Hell Whenever you hear sound in The Inferno of Dante, torture or pain are either coming from tormented souls or is near. Throughout this novel, we not only see images drawn in our minds by Dante, but can in vision what Dante is going through from the sounds described in each Canto. We see Dante’s hearing and understanding develop to a more mature level as he faces different souls and hears their suffering. Our first instance of sounds imagery is in Canto III (3). Upon entering the Inferno, Dante hears tortured shrills coming from those who are unsure of where their loyalties lie and never choose a side. He hears their pain and begins to weep, for the pain he hears symbolizes everything he is about to face while he is in the Inferno. Since Dante has compassion for those in pain, he is forced to listen to the groaning and screams coming from the tortured souls in order that he may come to a level of acceptance with those who are in the rings of the Inferno. We also see sounds imagery in Canto IV (4). “Breaking the deep sleep that filled my head,/ A heavy clap of thunder startled me up/ As though by force” (Canto IV lines 1-3). Since Dante was not yet accustomed to the Inferno, the Inferno woke him up with a loud clap of thunder in order that he may become better accustomed to the sounds of torture. Dante expected to hear tortured souls, especially because Virgil’s face became white with pity for the pain the virtuous pagans face in the first circle of the Inferno...
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...The human body has always interested me. The way that it dramatically changes throughout life and events that we are not able to control. Dante endures a similar fascination with the human body and its changes a parts on his journey through hell through the Inferno. Even reading this a second time, I was able to make even more personal connections with the book than I previously had. I have had many experiences where my view of the human body was being ruined by uncontrollable forces. Much like me, Dante’s fascination with the body often leads to disgust of even pain when it is ruined. Not long ago while I was still in my boarding school, my grandmother that I called Nana had a heart attack. She is fine now, but it worried our entire family and led me to apply to Paideia in order to visit her more frequently. When I got the opportunity to visit her for the first time in a year, she did not appear to be my Nana anymore. Her chubby body was now gone and replaced with skin and bones, it horrified me because I loved and respected her so much and could not even recognize her after her heart attack. Dante’s experience with the Sodomites mirrored my own disbelief when I was unable to recognize someone so important to my life. When we enter Canto 16, we see three shadows running toward Dante. He is first confused by their presence, but once Virgil asks for Dante’s respect toward the shadows, he is willing to hold a conversation with them. These three shadows that surround Dante are...
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...In the texts The Divine Comedy, On Law Morality and Politics, and Revelations of Divine Love, there is a central theme of divine justice. In Dante’s Inferno, divine justice is God’s will for mankind and the order of the universe. In Saint Thomas Aquinas’ text, divine justice is the consequence of straying away from divine law. Finally, in Julian of Norwich’s work, the purpose of divine justice is to earn God’s mercy and eventually reside in his presence. Using different understandings of divine law and justice, each author is uniquely able to convey a similar message – mankind’s purpose is to achieve salvation and be in God’s grace. In Dante’s The Divine Comedy, the nature of justice seems to be impartial and unexempt from anyone. Specifically,...
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...In the Story of Inanna’s journey into hell, Inanna, the God of Fertility has decided that she is going to go descend to Hell, the Land of Death. Before doing this however, Inanna makes sure that she has a backup plan in case she were unable to get back from the land of the death. She enlists the help of her Minister Ninshubar whom tells the truth to go forth after her departure to her the other Gods to have them call her back to the heavens. Inanna puts on her godly armor of crows and robes before descending into hell. However, when she gets there, things do not go exactly as planned. Upon her arrival, she is asked by hell servant Neti what her reason for coming down to hell was. Instead of giving her a straight answer, Inanna lies about her...
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...establish their relationship, Virgil leads Dante the Pilgrim on his journey through Hell. Not only does he lead Dante on a physical journey, he also teaches Dante lesson about morality. He teaches Dante that if he pities the sinners, it would lead to a recursive process in Dante’s spiritual development. While Dante and Virgil come across Bolgia four in the eighth circle, where the fortune tellers dwell, Dante felt pity for the sinners until Virgil says, “… There is no place/ for pity here. Who is more arrogant/within his soul, who is more impious/than one who dares to sorrow at God’s judgment?” (XX: 27-30) Virgil warns Dante the pilgrim about the dangers of pitying those who defied God. His usefulness deprives from his logical understanding of divine punishment, a characteristic that Dante the Pilgrim learns throughout his spiritual journey. As Dante’s Hell depicts punishment for those who defy God’s will. The sinners in Hell deserved the punishment that he or she receives. Virgil, as Human Reasoning, logically understands. Dante, due to his lack of development, cannot comprehend this concept. In the introduction of the Inferno, Dante cannot...
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...Although he believes that God is using him as an agent of fate, Dantes forms his own destiny by the decisions he makes throughout his life. A police commissioner who informed him, “Edmond Dantes, I arrest you in the name of the law”, arrested Edmond Dantes, being falsely accused by Danglars and Villefort through collaborating with the Bonapartists. With the betrothal feast going on, Edmond, did not expect anything terrible to happen to him because betrothal feasts are a time of celebration. This event was destined to happen to Dantes because of his enemies jealously if his accomplishments and his appointment of caption of The Pharooh. Being close to death, Abbe Farid tells Dantes, “You are the child of my captivity. My profession condemned...
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...In the Bible sin is considered sin not matter the action, the form, or fashion. Wrong is considered wrong, and no one is bigger than the other is. This is explained in Luke 12:47–48. Secondly, each level had a certain eternal punishment or suffering. Like the over shadowing of demonic animals or the endless storms, in the bible the environment is described differently. It is said to just be a like a place of darkness. Maybe worse than what Dante idealized. In conclusion, the Divine Comedy has many unique scenes that no other epic could measure up to. From the unfortunate loss of his home to the love of his life being married off and passing away. He used his pain and emotions to create the great story that has influenced the past, present, and will most likely have an effect in the future. Dante not only wrote a story but he wrote something that will always be a line between religion and...
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...Contrapasso is one of only a handful few principles in Dante's Inferno. It is the one "law of nature" that applies to damnation, expressing that for each heathen's wrongdoing there must be an equivalent and fitting discipline. These disciplines, in any case, are once in a while basic or clear and are generally figuratively as opposed to actually identified with their separate sins. Indeed, Dante researcher Lino Pertile takes note of, "the routes in which [contrapasso] works in the account are the same number of as the transgressions, if not the same number of as the miscreants, to which it is connected" (70-73). As is not out of the ordinary with such a confounded idea, numerous elucidations of this exchange amongst transgression and discipline have been proposed. The absolute most intriguing of these attention on the connection between Dante's one of a kind type of equity and the conventional, scriptural feeling of equity. For instance, Robert Durling and Ronald Martinez in their notes on Inferno contend that Dante's depiction of awesome requital is obviously gotten from "the scriptural law of striking back," also called "tit for tat" (448). These researchers immovably trust that Dante needed just to appropriately apply the pre-built up standard of equity to his understanding of damnation. Another camp, notwithstanding, fights that Dante is endeavoring to rethink totally the well known picture of hellfire. Matthew Pearl, in his article "Dante and Capital punishment," contends...
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