...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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...Surname 1 Name: Instructor: Course: Inferno Symbolically, the Inferno signifies the Christian humanity seeing iniquity for what it actually is, and the three creatures denote three kinds of sin: the self-indulgent, the forceful, and the mean These three forms of sin too deliver the three key partitions of Dante's Hell: Upper Hell, outside the town of Dis, for the four iniquities of absolution which are gluttony, lust and anger; Circle 7 on behalf of the sins of forcefulness; and Circles 8 and 9 for the evils of meanness, fraud plus treachery. Additional to these are two dissimilar groups that are specially spiritual: Midpoint, in Circle 1, covers the righteous pagans who be situated not evil but were unconscious of Christ, and Circle 6 encloses the heretics who disputed the principle and mixed up the inner self of Christ. The circles numeral 9, with the account of Satan finalizing the configuration of 9 + 1 = 10. Love, a subject all over the Inferno, is predominantly significant for the outlining of iniquity on the Foothill of Purgatory. Although the love that comes from God is wholesome, it can turn out to be wicked as it streams over mortality. Hominids can sin by means of love towards inappropriate or spiteful ends or applying it to correct ends however with love that is moreover not strong enough or love that is else strong. Metaphorically, the Purgatorio characterizes the Christian natural life. Christian souls reach accompanied by a guardian angel. In his Message to Can...
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...An Analysis of the Setting in The Inferno Abstract Plutus and Pluto, and their placement in the fourth circle of Hell, were originally very confusing for me. After researching for the interactive oral, I had a much better understanding of him because, in Greek mythology, he is the God of wealth and, in Roman mythology, he is the God of the underworld. Pluto, the Roman God, is not only the God of the underworld, but also of the riches. He is placed in the fourth circle of Hell, that of greed and avarice, which makes sense because of the occupants’ sins, which have to do with riches and wealth. Also, the negative association of money and wealth to greed helped me tie in why a God was in Hell, other than the fact that Pluto/Plutus was Roman/Greek and not Christian. This development not only helped me understand why greed was around the middle of Hell, but also why Pluto/Plutus was there. It also connects to the prevalent idea of retribution, or an eye-for-an-eye, because the God of wealth, riches, and the underworld (money and evil) was around greed (evil due to money). My understanding of the retribution idea in The Inferno was also developed substantially through the interactive oral. Originally, it was easy for me to understand that the punishments were retributive; such as those who tried to look into the future will look backwards (to the past) for all eternity; gluttoners are rained upon by vomit (because they regurgitated what they ate), etc.; but what I did not understand...
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...The Greek poet Homer (who, if he was one person, was born between 850 and 1100 BCE) was, to use a modern term, the source code for Greek literature and poetry, and therefore for Western literature, heavily influencing practically everyone who followed him, including, of course, the great Florentine poet Dante Alighieri ( 1265-1321 A.D.). Both poets’ visions of Hell, as depicted in The Odyssey and Inferno, are noteworthy because they open important windows into the philosophical and theological underpinnings of the worlds into which these authors were born. Why is this important? Because their elaborately drawn visions of Hell represent the two great divides in how humans for 3,000 years have been seeing themselves and the universe they perceive surrounding them. In the Homeric vision, life is tragic and arbitrary. We as humans are mere playthings of the Fates and the gods. Sometimes justice occurs, but usually only by accident, and even then it comes wrapped up in irony. Good is punished and evil triumphs. The hero, instead of enjoying the fruits of his victory, is brought low by some tragic flaw. Homer’s portrayal of the gods and of hell in the Odyssey…[big long quote] For Dante, in sharp contrast, the universe is ordered and just. The wicked are, eventually, punished and the righteous are rewarded, if not in this life, then in the next. Existence, while often painful and scary, is not arbitrary, but proceeds according to a mysterious divine plan devised long ago by...
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...Literature Humanities/Essay 1 27 February 2014 Violence in Dante’s Inferno and Ovid’s Metamorphoses Scenes of great violence, as the prompt says, are often written into dynamic narratives of great literary merit. From Dante Alighieri’s Inferno to Ovid’s Metamorphoses, the inclusion of violence as a literary technique is used to propel the narrative forward, all while adding action, intrigue, and engaging the reader. Despite it’s validity as a literary technique, the inclusion of violent scenes in literature serve much more than the simple purpose of pushing a plot along a set of structured points. Scenes of violence provoke thought in areas ranging from human nature to the nature of sin, thoughts that often can’t be provoked my images of calm, sublime, or tranquility. Extreme violence, juxtaposed with other scenes, provides insight into the amazing nature of human capability and human nature. In Dante Alighieri’s Inferno there is an abundance of violence that is illustrated in varying ways. Despite the copious inclusion of violence scenes throughout the text, violence does not appear throughout the literary work for its own sake. As one reads on through the Inferno, it provides it’s own clarity. As the levels of Hell increase, the severity of violence does so as well. The violence that appears occurs in different fashions, sometimes mentally, sometimes physically and many times both simultaneously. The scenes violence included in Dante’s Inferno contributes to the theme and darker overtone of the poem...
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...Katrina Ramos Professor Perrone LAC 1000C: Italian December 2011 Dante’s Inferno: A Detailed Look Into Canto XXIV, Lines 1-57 Dante Alighieri’s The Divine Comedy is an allegorical epic novel describing Dante’s journey through the Inferno, to Purgatorio and finally to Paradiso. The purpose of this journey, particularly the journey through the Inferno, is to expose people to the recognition and rejection of sin (Casagrande). Dante, being that he is human, must first pass through the Inferno to witness the sinners and their according contrapasso, before he can enter Purgatorio towards his final pursuit to Paradiso. The Divine Comedy is a metaphorical journey of bringing the light of God to the darkness of human sin. In Canto XXIV (24) of the Inferno, Dante and Virgil have made their way to the eighth circle of Inferno – “The Malebolge” – and are in the process of making their journey through the 10 pits of Circle 8 (Mahfood). Being the second to last circle in the inferno, the circle of the sinners who commited fraud and theft in their early life (Dante Worlds), the contrapasso witnessed here is more terrifying than what Dante and Virgil have seen during their journey previously. To provide some background information to Canto XXIV, the previous happenings of Canto XXIII (23) should be provided: Virgil is leading Dante through the pits, or bolgia, of Circle 8 when he remembers a bridge connecting the sixth and seventh pit. Virgil asks the circle’s monster-keeper, Malacoda...
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...Review for Midterm #1—Classical & Medieval Cultures The in-class portion of the exam will consist of 30 objective questions (multiple-choice and matching) and 2 short answer questions (no more than three sentences per answer). The in-class portion of the exam will be worth 100 points. The out-of-class essay will be worth an additional 100 points. See below for the out-of-class essay questions. Ancient Near Eastern & Greek Culture Terms: Trojan War, anthropomorphism, polytheism, monotheism, Archaic Age, Classical Age, Hellenistic Age Art & Artworks: Sculpture: relief sculpture, free-standing sculpture, idealism, naturalism; characteristics of Archaic sculpture, kouros, kore; characteristics of Classical sculpture, Myron, Discus Thrower, Polycleitus, Spear-Bearer, Canon, unknown sculptors, Zeus, Three Goddesses,, Praxiteles, Aphrodite of Knidos; characteristics of Hellenistic sculpture, Laocoon and his Sons, Old Shepherdess ; Architecture, frieze, pediment, entablature, capital, metope, triglyph,; Characteristics of Doric, Ionic, and Corinthian styles, Parthenon, Temple of Athena Nike, Erectheion (with Porch of the Maidens), Propylaia Literature & Drama: epic poetry, Epic of Gilgamesh, Homer, Iliad, Odyssey; Hesiod, Theogony; Theater of Dionysus, tragedy, comedy, Oresteia of Aeschylus, Antigone & Oedipus the King by Sophocles, Medea by Euripides, Lysistrata by Aristophanes, characteristics of tragedy, hubris, hamartia, catharsis Thought: Pre-Socratic...
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...Hero's Journey: Dante's inferno In many stories that are told and taught, there is a protagonist that experiences the call to adventure. This character soon follows into the path of the Hero's Journey. There, they transform their beliefs and ideas. They go beyond their horizon and expand their knowledge. In Dante's Inferno, Dante Alighieri tells his voyage through Hell in a poem in order to display his journey to God in a time when he had lost his way. The Inferno, symbolizes Dante's recognition of sin and the need to deny the temptations of man in order to obtain paradise with God. The Hero's Journey is depicted throughout the poem. The Call: The Call is the beginning of the Hero's Journey. It is when the protagonist or hero of the book is brought out of their domain and into the unknown. They are called to pass the horizon and enter into a mystery that will lead them to their destiny. The poem of "Dante's Inferno" opens up with Dante being lost in his pathway to God. On the morning light of Good Friday he realizes the error of his ways and turns to go up the Mount of Joy in order to leave the Dark Wood of worldliness and enter into Paradise. After being denied entry into the pathway towards god by three beasts, Dante's...
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...In the Love Song of J Alfred Prufrock, Eliot describes Prufrock and how he feels in such a magnificent way that Prufrock certainly could not do himself because of his insecurity. With a dramatic monologue, Eliot allows the reader to make his or her own conclusions to add meaning to the poem. This poem is one of the most influential poems of the twentieth century because it is not like any love poem that had been previously written. In the sense of paralysis, Eliot creates a poem that generalizes Prufrock’s insecurity. The epigraph of Dante’s Inferno is the first hint of meaning in the poem. By having this piece of the Inferno included we assume the poem will be dark and hellish. The Inferno basically states that the speaker would not have shared...
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...Paul J. Bonham Dr. Tiffany Adams EN 211 13 November 2015 The Collective Inferno: A Look into Dante and Others’ Views on Hell Though for some a subject far too heavy to be spoken of but in hushed tones, Hell has been the topic of much debate and speculation by theologians and philosophers, both Christian and otherwise. They have pondered such questions as whether or not hell is a real place, and if so whether it is divided into different sections or if it is one homogenous lake of fire. Even for those who may not believe in Hell, the idea of a place of eternal torment as punishment for ones’ sins is a fascinating one. It causes one to contemplate the nature of sin and humanity, whether some sins are worse than others, and if so, does God punish some more than others. It may be natural for one to feel that some sins are more wicked than others. Thus, it follows reason that some sins require greater punishment. A child who impulsively shoves his sibling may need a quick spanking or time out, while the First Son was condemned to wander the earth in exile. If man was indeed made in God’s image then man must still have some semblance of God’s morality. Turner and Ressler comment on scriptural mentions of Hell and sin: Biblically, there seems to be definite teaching that there are different levels of Hell--at least in the sense that there are various degrees of punishment. The Bible does not specifically mention higher or lower levels of Hell in the location sense, but it does...
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...COLT 102 February 13, 2015 K. Calhoon Essay Assignment Write a four-page essay (printed, double-spaced) based on one of the following prompts: • Gwendolyn Brooks’ “The Ballad of Rudolph Reed” presents a sequence of events culminating in Rudolph Reed’s death. Canto 33 of Dante’s Inferno presents a similar sequence in which the death of Ugolino’s sons and eventually Ugolino himself is described. Look at these two texts carefully. Compare and contrast the ways in which Brooks’ and Dante’s language develop this crescendo of despair. Note: We are not asking you to tell us what happens but how words work to create expectations, foster tension, etc. • In his “Open Letter on Translation,” Martin Luther faults his detractors for their literalism. Explain Luther’s position, and discuss it in relation to Dante’s Inferno, using examples from the latter text to illustrate where the ability to differentiate between the spirit and the letter matters. • Shakespeare’s Henry IV and Molière’s The Bourgeois Gentleman are very different plays. Both, however, are rich in comedy. Each also contains a play within a play. Compare them with respect to this particular aspect. Analyze each play within a play, and use this as an opportunity to reflect on the nature of comedy as such. Please make use of Aristotle’s Poetics as a possible guide in your discussion. • We have dealt extensively with gesture in the course of our discussions, observing how, in plays such as Molière’s The...
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...There are certain characteristics that make literature so interesting and entertaining, which are the facts that certain works have the capacity to create a trend or a genre, therefore it gives the piece of work a feeling of transcendetality. Two great authors from the Western civilization that take part of a modern literary culture that is characterized for its epic stories and epic characters that follow along the definition of an epic hero. An epic hero is a brave and noble character in an epic poem, admired for great achievements or affected by grand events. Dante’s Aligheri’s Inferno and Homer’s The Odyssey respectively have two characters that fulfill what is like to be recognized as a brave and noble character. Throughout both poems, we can see how each character has unique qualities that make them outstand and set them up as a leader, but at the same time, they have the flaws of any human being. It is clear when a character overcomes the status of any human being and sets the lead as a hero. An important trait of an epic hero is the fact that starts a journey; it may be of a personal matter, such as Dante, or of societal matter, like Odysseus. In The Odyssey, Odysseus is a war hero travelling home after a period of twenty years. In this epic, Odysseus is brought out as a hero with superhuman courage. In most cases, he has been shown fighting with supernatural forces. One characteristic of this journey that is different from Dante is that the hero in this epic fights...
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...This week you will have the opportunity to practice the skills of finding peer-reviewed sources and integrating material from these secondary (outside) sources into your writing. First, go to the SUO library and find at least one credible, peer-reviewed scholarly source that relates to your essay comparing The Odyssey and one of the following texts: * The Song of Roland * Dante’s Inferno Ideally, these sources will support the argument that you developed in your essay for W4: Assignment 2. Next, retrieve the essay you submitted to the W4: Assignment 2 Dropbox, along with the feedback about it that you received from your instructor. Open a new Word document and copy and paste only the introduction of the W4: Assignment 2essay onto it. Decide whether to revise the introduction based on feedback from your instructor and/or additional ideas that you might have had since you first wrote it. Go ahead and make any revisions you consider necessary. After that, or if you do not wish to revise the introduction, copy and paste the next paragraph to your document, review it and revise as necessary, substantiating and reinforcing (when necessary and appropriate) your argument with quotes, paraphrases, or summaries from the peer-reviewed source that you retrieved from the library. Remember that quoted material should not exceed 25% of the essay. Repeat this process with all the essay’s paragraphs up through the conclusion. After incorporating scholarly material into your paper...
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...Heavily derived from The Aeneid, the work is the most influential depiction of the afterlife. Although they are written over 1,400 years apart, the two works share many similarities in their views of death and the afterlife. In both works, the Underworld is structured with souls separated into good, evil, and neutral sectors based on their actions during life. Dante’s hell, however, is much more clearly defined compared to Vergil’s broad categories, with physical barriers separating the different circles of hell. In Inferno, hell is segmented into circles based upon the sins of incontinence, violence, fraud, and betrayal, which are further subdivided into sections that map the seven deadly sins: gluttony, wrath, sloth, avarice, lust, envy, and pride. The weight of the sin is also considered: the closer to the core of Hell, the eviler the sin. In Vergil’s underworld, the souls are not categorized based on the weight of their sins. However, they are still placed in hell because of violations of his society’s ethical code. The cheaters, hoarders, adulterers, and betrayers in Vergil’s hell are the forebears of the categories Dante uses to divide his Hell. The defined separation of the sinners in Dante’s hell is reflective of the Christian Church, which held great...
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...The Divine Comedy represents the mature Dante’s solution to the poet’s task annunciated in The New Life. Its three canticles (the Inferno, the Purgatorio, and the Paradiso) display a nearly limitless wealth of references to historical particulars of the late Middle Ages and to Dante’s life. Even so, its allegorical form allows these to function as symbols. The Pilgrim’s journey through Hell to Heaven thus becomes an emblem of all human experience and a recognition of life’s circularity. The “Comedy” of its title is, therefore, the situation of life and the accumulation of experience that attends it. Correspondingly, however, chronological placement of the narrative from Good Friday through Easter Sunday, 1300, particularizes the experience even as it implies the death and rebirth that attends a critical stage of any person’s life. The poet tells his readers in the first line of the Inferno that he is midway through life, and indeed Dante would have been thirty-five years of age in 1300. Though he maintains present tense throughout the poem, he is, however, actually writing in the years that follow the events that he describes. This extraordinary method allows the Poet to place what amounts to prophetic utterance in the mouth of the Pilgrim. Dante thus maintains and further develops the thesis of The New Life, that the progress of the Pilgrim corresponds directly to the progress of the Poet. The literal journey that the Pilgrim undertakes toward the Beatific Vision succeeds only...
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