Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Critical analysis of dantes inferno
Critical analysis of dantes inferno
Critical analysis of dantes inferno
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Critical analysis of dantes inferno
Dante’s Inferno is a very important piece of literature. There are many things to be learned from it, from the face value knowledge that Hell is a bad place, to a deeper understanding of how God intended us to live; but the most important lesson to be learned here is the power of allegory. Nancy Thuleen says this about it. “Dante's portrayal of Hell in the Inferno is an undisputed masterpiece of visual and allegorical imagery, enriched not only by extensive use of figurative language, but by concrete physical descriptions as well” Dante had allegory down to a science, and applied it to every aspect of his Inferno. If you are looking for it, you will notice that everything in the poem is laced with deeper meaning. However, there are some parts that stand out from the rest in my mind. My three favorite parts of Dante’s Inferno are circle four, circle six, and the third bolgia of circle eight because of how well the punishment reciprocates the sin.
First off, the fourth circle of hell is one of my favorite parts of Dante’s Inferno because of how well the punishment reciprocates the sin. The fourth circle is simply a large, flat ring. It contains sinners of avarice, or those who are very materialistic, and of prodigality, or spending too freely. There are two different kinds of sinners here; some are hoarders, those who had an excess of material things, and wasters, those who did not value what they had. These two groups were fated to roll huge boulders for eternity. Kyle McGuinness will detail this. “As punishment in this circle of hell the shades must push large boulders with their chests in opposite directions. When two of the opposite sins collide they yell at one another and then go in opposite directions only to repeat the same ...
... middle of paper ...
...n the ninth floor. It actually is pretty warm in there; it is right above the boiler room, powered by Satan’s tears after all. The guys here are all co-owners of Hell, Inc., and take pride in their leadership skills. But they are constantly plotting against one another to gain power. It really is terribly unfortunate, but hey, it’s how business works.
Works Cited
Beaumont, Doug. "Soul Device." Soul Device. N.p., n.d. Web. 08 Dec. 2013.
Cuizon, Gwen. "Dante's Inferno." HubPages. N.p., n.d. Web. 08 Dec. 2013.
McGuinness, Kyle. "Dante's Inferno: Circles 3 and 4." Prezi.com. N.p., n.d. Web. 08 Dec. 2013.
Phelan, Julie Renee. "Classical Literature and Poetry." : The Inferno: Canto XIX, by Dante Alighieri. N.p., n.d. Web. 08 Dec. 2013.
Thuleen, Nancy. "Imagery and Allegory in Dante's Inferno." Imagery and Allegory in Dante's Inferno. N.p., n.d. Web. 08 Dec. 2013.
Alighieri, Dante. The Divine Comedy of Dante Alighieri: Inferno. Trans. Allen Mandelbaum. Notes Allen Mandelbaum and Gabriel Marruzzo. New York: Bantam Books, 1980
In Dante’s Inferno, hell is divided into nine “circles” of hell; the higher the number, the more likely the sin and the pain you will endure. However, I do not completely agree with Dante’s version of hell, perhaps due to the difference in time periods. In this essay, I will be pointing out my concerns with Dante’s description of hell and how I would recreate hell if I were Dante. The first level of hell in the Inferno is for those unbaptized yet virtuous. Although some did not have a sinful life, if they did not accept Christ, they were sent to Limbo.
“Early in the spring of 1300, "midway along the road of our life," Dante is lost and alone in a dark, foreboding forest. To survive this ordeal, he must visit the three realms of the afterlife, beginning with Hell.” (Smith) Dante’s Inferno, one of the great classical poems that have come out of literature that’s topic is hell. Dante’s Inferno, gives a descriptive look into hell, from the eyes of Dante. Dante goes into detail about every part of hell. The people, what it looks like, sins to go there, the whole shah-bang. Dante splits up hell into nine different parts. In which he sends different types of sinners to each part. Each hell is made up differently, each has different systems that make up that particular systems. For example, circle three, has Cerberus the three headed dog, and another circle is completely frozen over. There are three circles of hell in Dante’s Inferno that are the best in the book: Circle one, circle six, and circle three.
In the Inferno we follow the journey of Dante as he wanders off the path of moral truth and into Hell. The Virgin Mary and Santa Lucia ask Beatrice, Dante’s deceased love, to send some help. Thus, Virgil comes to the rescue and essentially guides Dante through Hell and back to the mortal world from which he came. However, things begin to seem kind of odd. When reading the Inferno one may begin to question the way Dante describes Hell and the things that occur within, or even the things we have always believed about Hell. Despite the way it is described and well known in western civilization, Hell is not at all how we expect it to be because of Dante's use of irony throughout this poetic masterpiece.
Alighieri, Dante. The Inferno of Dante. Trans. Robert Pinskey. New York: Farrar, Straus, and Giroux, 1994. Print.
As Bloomfield stated, it is only how we interpret the words in an allegory that matters, each person can interpreted it in a slightly different way and allegories are most often personalized by a reader. Dante’s Inferno allegory is present throughout the entire poem. From the dark wood to the depths of Dante’s hell he presents the different crimes committed in life as they could be punished in death. One of the first punishments we observe comes from the fifth circle of Dante’s hell, the wrathful and the sullen, as the author expresses his thoughts of the fitting consequence with each sin.
“If you would not be forgotten as soon as you are dead and rotten, either write things worth reading or do things worth writing.” This maxim applies to the poet Dante Alighieri, writer of The Inferno in the 1300s, because it asserts the need to establish oneself as a contributor to society. Indeed, Dante’s work contributes much to Renaissance Italy as his work is the first of its scope and size to be written in the vernacular. Due to its readability and availability, The Inferno is a nationalistic symbol. With this widespread availability also comes a certain social responsibility; even though Dante’s audience would have been familiar with the religious dogma, he assumes the didactic role of illustrating his own version of Christian justice and emphasizes the need for a personal understanding of divine wisdom and contrapasso, the idea of the perfect punishment for the crime. Dante acts as both author and narrator, completing a physical and spiritual journey into the underworld with Virgil as his guide and mentor. The journey from darkness into light is an allegory full of symbolism, much like that of Plato’s Allegory of the Cave, which shows a philosopher’s journey towards truth. Therefore, Dante would also agree with the maxim, “Wise men learn by others’ harms; fools scarcely by their own,” because on the road to gaining knowledge and spiritual enlightenment, characters who learn valuable lessons from the misfortunes of others strengthen their own paradigms. Nonetheless, the only true way to gain knowledge is to experience it first hand. Dante’s character finds truth by way of his own personal quest.
Alghieri, Dante. "The Divine Comedy: Inferno." The Norton Anthology of World Masterpieces: Expanded Edition In One Volume. Gen. Ed. Maynard Mack. New York, NY: W.W. Norton & Company, 1997. 1032-1036.
In circle three of Inferno, Dante conjures a despairing tone by use of vivid imagery and extensive detail to display the harrowing effects of gluttony. This is best exemplified through the weather patterns and general landscape of this circle, the Poets’ encounter with Cerberus, and Dante’s conversation with Ciacco, the Hog. These devices also allow for the conveying of ideas embedded within the text.
Dante’s The Divine Comedy illustrates one man’s quest for the knowledge of how to avoid the repercussions of his actions in life so that he may seek salvation in the afterlife. The Divine Comedy establishes a set of moral principles that one must live by in order to reach paradise. Dante presents these principles in Inferno, where each level of Hell has people suffering for the sins they committed during their life. As Dante gets deeper into Hell, the degrees of sin get progressively worse, as do the severity of punishment.
Inferno is the first and most famous of a three part series by Dante Alighieri known as the Divine Comedy that describes his journey to God through the levels of Hell, Purgatory, and Paradise written in the early fourteenth century. Scholars spanning over nearly seven centuries have praised its beauty and complexity, unmatched by any other medieval poem. Patrick Hunt’s review, “On the Inferno,” states, “Dante’s extensive use of symbolism and prolific use of allegory— even in incredible anatomical detail—have been often plumbed as scholars have explored the gamut of his work’s classical, biblical, historical, and contemporary political significance” (9). In the story, each of the three main characters, Dante, Virgil, and Beatrice, represent
Dante’s Inferno presents the reader with many questions and thought provoking dialogue to interpret. These crossroads provide points of contemplation and thought. Dante’s graphic depiction of hell and its eternal punishment is filled with imagery and allegorical meanings. Examining one of these cruxes of why there is a rift in the pits of hell, can lead the reader to interpret why Dante used the language he did to relate the Idea of a Just and perfect punishment by God.
Alighieri, Dante. "The Inferno." The Divine Comedy. Trans. John Ciardi. New York: First New American Library Printing, 2003.
The first of the two divisions of Hell is Upper Hell. Upper Hell is the area habitated by those committing sins of incontinence or lack of self-restraint. This lack of self-restraint could be in the form of anything from sex to mood. Before delving into the sins of incontinence, one must first look into the first inconsistency of the Inferno. This inconsistency is found in the Vestibule of Hell. The Vestibule of Hell contains the trimmers and the neutrals. Although almost all other sins mentioned in the Inferno are of an ethical, universal standpoint, the ones mentioned here are sins only from the Christian point of view. These neutrals are the people who either showed no partisanship or did not take sides. Lines 37-39 and 46-50 read:
In conclusion, a great deal of tension and contrast between “dark” and “light” in The Inferno helps us to explore Dante’s self portrait—he fears dangerous desires and sinful darkness, but shows much courage and hope towards life since he nevertheless follows his guide Virgil to dive into horrible Hell. As shown in Canto I, such emotional reaction to dark and light symbols lays a great foundation for developing Dante’s broad and universal traits as his journey progresses.