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Analysis of inferno by dante
Analysis of inferno by dante
Analysis of inferno by dante
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The Count’s actions throughout the novel Dracula, would have placed him in the second level of Hell in Dante’s Inferno, lust. Jonathan had just entered the chapel in Castle Dracula for the second time. He then began to search for the Count’s body among the coffins. He found the Count in the same coffin as before, and he removed the lid. He found the Count lying there, with his mouth covered in blood. The Count looked as if his youthfulness has been partially restored.
Then I stopped to look at the Count. There was a mocking smile on the bloated face which seemed to drive me mad. This was the being I was helping transfer to London, where, perhaps, for centuries to come he might, amongst its teeming millions, satiate his lust for blood, and create a new and ever widening circle of semi-demons to batten on the helpless (52).
The Count has a desire for human blood. He lusts after it, and takes it from humans for his own use. The Count uses the blood that he craves from them to keep himself looking young and rejuvenated. In Dante’s Inferno the second level of Hell is for the lustful. Those that have a strong craving and desire for something. The Count has a desire for blood, therefor he would be placed in Dante’s second level of Hell with the lustful, where he would be blown about by violent winds for eternity. The Count would be placed in the second level of Hell for being a sinner, but Renfield would be placed in the third level for what Dante believed was a more severe sin.
The third level of Hell is for the gluttonous, which is where Renfield would have been placed. It was eleven o’clock at night, and Seward had just given Renfield an opiate to put him to sleep. Seward then proceeded to take Renfield’s journal and read it.
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..., with a suddenly distorted face, full of rage, dashed past him as if to enter the tomb (192).
Before Lucy died and became a vampire, she was supposed to be married to Arthur, however, that never happened, but Arthur said that after he gave her blood during one of her blood transfusions he felt as if they were married. Lucy and Arthur, were practically husband and wife, making them kin. Lucy betrayed Arthur when she was in her vampire form, and tried to draw him towards her, so she could drink his blood. Although the old Lucy was not in control of her body, she was responsible for her actions, and by betraying her kin she would have been placed in the ninth level in Hell. Unlike Renfield Lucy betrayed her kin and not her benefactor, so instead of being contorted and lodged in ice she would be lodged head first in a block of ice.
Works Cited
Dracula
Dante
During his rule, Dracula established five monasteries and was always followed by priests and monks as he thought that religious charity would erase sin. Despite being known for his great religious virtues and being a war hero in all of Romania for defending his empire from the Ottoman Empire, Dracula had a thirst for blood. Dracula’s good deeds were overshadowed by his methods of torture as he became known as “Vlad the Impaler”. Dracula’s choice of punishment for his enemies was to impale them and leave them to slowly die a painful death. This did not sit well with the Vatican as they condemned his actions of cruelty. It was also reported that on a separate occasion of impaling his enemies, Dracula was eating his dinner and dunked a piece of bread in blood which some say added to the myth of him being a vampire. Dracula was killed in 1476 while he was battling the Turks and his head was cut off and put on display in Constantinople as a tribute of his actions for the country of
...stingly, Lucy reveals a furtive desire to escape the traditional constraints that are placed upon her. Prior to being pleased with her committed relationship, Lucy complains, “why can’t they let a girl marry three men, or as many as want her, and save all this trouble?” (Stoker 92). Her desire for three husbands suggests a latent sensuality that connects her to the New Woman; she is torn between the need to conform and the desire to rebel (Senf 42). On the night of Lucy’s initial vamping, Mina witnesses her friend in the cemetery of Whitby: “it seemed to me as though something dark stood behind the seat where the white figure shone, and bent over it. What it was, whether man or beast, I could not tell” (Stoker 144). For Lucy, this exceedingly sexual scene acts as an exaggerated fulfillment of her earlier sexual curiosity regarding polygamy (Prescott & Georgio 502).
...ed to kill Basil Hallard) and dies, his corpse acquiring the shape of his soul and the painting, his soul, regaining the purity of his youth. To regain the purity of his soul he must expose himself as he really is to the eyes of the world. It is, in short, an act of confession that will grant him salvation through the mercy of God. In Dracula, Arthur’s liberation of Lucy’s soul through strong thrusting of the stake, a three-foot long phallic symbol, through her heart is the regaining of the masculinity of England’s youth. The elimination of the Count and the resulting withdrawal of the forces of evil (the gypsies and the wolves) represents the reaffirmation of that masculinity against the foreign threat of the count. This ordeal has helped them to reencounter their true virtues and will enable them to guide the country to a brighter and more prosperous future.
In Bram Stoker’s Dracula, Dracula is representative of the superhuman ideal that man is striving to achieve. Dracula is a strong willed, powerful, brilliant masculine figure, and through these characteristics, he appeals to the contemporary reader. By the late 20th and early 21st century, vampires have been transformed into creatures that offer endless happiness and immortality on earth. Such a transformation can be seen in Francis Ford Coppola’s 1992 production of Bram Stoker’s Dracula. Instead of viewing the Faustian dream of endless self-gratification and fulfillment as potentially evil, popular culture depicts these satanic creatures as morally justified, and actually good.
Klüsener, Bea. "Sheridan Le Fanu’s Carmilla and Bram Stoker’s vampire ladies as representations of Cesare Lombroso’s donna delinquente? ." Catholic University of Eichstätt-Ingolstadt.Germany (2010): Pg 1-12. Print.
The version that I focused on for the sake of this essay was the book. I did watch eleven of the thirty-three Dracula movies that I own, so some references will be made to the movies. The book is told from the perspective of Jonathan Harker’s journal, with some letters to and from his girlfriend Mina. The purpose of his visit with Count Dracula is that Harker is selling a building to Dracula. Carfax Abby was in England where Dracula wanted to move. Harker went to Transylvania to assist Count Dracula in his move to England.
“In the aperture of the broken panes there was the head of a great, gaunt grey wolf.” (Stoker.151) Lucy’s mother was so terrified by the sight that she had a heart attack which claimed her life. ”What it was, weather man or beast I could not tell; I did not wait to catch another glance but flew down the steep steps to the pier and along by the fish-market to the bridge, which was the only way to reach the East Cliff. The town seemed as dead, for not a soul did I see; I rejoiced that it was so for I wanted no witness of poor Lucy's condition." (Stoker, 101) This quote demonstrates a contrast of black vs white and also evil vs innocence. Dracula represents the darkness and evil while Lucy is the white and innocent. The language used by Stoker to describe things enhances the way the readers view Dracula as a creature of the
Jonathan’s closest coming to death occurs when he is at Dracula’s castle. The Count warns him by saying “should you leave these rooms you will not by any chance go to sleep in any other part of the castle” (Stoker 38). The one time that Jonathan does accidentally fall asleep in another room, he is almost bitten by the three brides of Dracula. Also, Lucy is bitten while she is sleep walking. This is because she is unable to defend herself because she is not aware of what is going on around her.
Count Dracula has been the frontrunner for the modern day vampire lore and legends since being printed back in 1897, pop culture took the vampire traits from Bram Stoker’s Dracula and twisted them. In modern portrayals of vampire lore, each author chooses an original aspect from Stoker but then creates a little bit of their own lore in the process. Count Dracula appears to be a walking corpse from the pale and gaunt visual aesthetics to the coolness of his undead skin (Stoker). In some cultures, the vampire is able to transform from the body of a human being to that of a fellow creature of the night, a bat. In the novel Dracula more than one town was easily visualized through the detailed descriptions throughout the novel, thus
In Twilight, Edward Cullen presents the question; “ But what if I’m not the hero? What if I’m the bad guy?” The role of vampires is very controversial. Back in the day they were evil, soulless monsters and people genuinely feared them. However, in the present day it seems that we have grown to love them and even hope to one day be them. There are a plethora of vampire stories and many of them have become immense hits. With so many vampire stories, it is not uncommon that readers are able to identify a vast amount of similarities. Although similar in aspects, there are still many differences between the classic and modern day vampires. Two highly popular stories, in which we can easily identify similarities and differences, are Bram Stoker’s Dracula and Stephenie Meyer’s Twilight.
Dracula, the 1931 film directed by Tod Browning is loosely based upon the novel of the same name. Therefore both share similar characteristics but are distinct. The differences between the novel and film occur due to the cinematic choices made as well as the fact that the film is based off of not only the novel Dracula but also the 1924 play Dracula. One major decision made by Browning was to alter the role of Johnathan Harker. In the novel Johnathan is the solicitor who meets with Dracula in Transylvania and narrowly escapes the “veritable prison” and is a changed man due to his experiences there (25). On the other hand, in the film Johnathan never visits Transylvania. Renfield is the one who does so instead. That provides Renfield with a
As the saying goes, “Women can do everything Men can do.” In the Gothic Novel Dracula by Bram Stoker, there is a constant theme of sexuality, from both male and females in society. In the Victorian era, the roles of male and females have caused a lot of tension. After reading Dracula, some would argue the roles men and women hold in society. As mentioned in Dr. Seward’s Dairy from Val Halsing., “Ah, that wonderful Madam Mina! She has man’s brain—a brain that a man should have were he much gifted—and a woman’s heart. The good God fashioned her for a purpose, believe me, when He made that so good combination” (Stoker and Hindle, 2003 250). A women’s mind is not the always the first thing on a males mind. Some would overlook what a woman really has to offer.
Dracula, by Bram Stoker, is a classic tale of Gothicism. Traditionally, gothic tales only carried single theme of horror. Through Dracula, Stoker breaks this single theme barrier. The theme throughout Dracula is clearly displayed through the characters as they step from ignorance to realization in this tale of horror.
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: