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Dante's Inferno influence on literature
The journey of Dante in literature
The journey of Dante in literature
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Even though Dante and Chaucer never met, Dante having died 19 years before Chaucer was born, Dante inadvertently became Chaucer’s life long mentor. Dante’s severe spirit turned out to be far more harsh than Chaucer’s nature, however Dante’s protégé, Boccaccio, became one of Chaucer’s greatest inspirations. Looking back at both Dante and Chaucer’s works, experts now see striking similarities in their writing. Whether Chaucer ever meant to use Dante’s materials or not, he is now closely compared with his contrary counter part. The original purpose of this paper was to tell how closely related Chaucer’s writing was to Dante’s, however, a closer look at the man, the better the picture is that shows the blatant contrasts between these two literary giants.
Dante was a man with a vision. He lived in a world that was “Torn by discord” (Limentani,117). Born in 1265, Dante’s Florence was the center of a war ravaged Italy. He became involved in politics at a young age and before too long became a White Guelph, one who supported the Papacy in the fight against invading Germanic kings. 1301 w...
Dante, an Italian poet during the late middle ages, successfully parallels courtly love with Platonic love in both the La Vita Nuova and the Divine Comedy. Though following the common characteristics of a courtly love, Dante attempts to promote love by elevating it through the lenses of difference levels. Through his love affair with Beatrice, although Beatrice has died, he remains his love and prompts a state of godly love in Paradiso. Dante, aiming to promote the most ideal type of love, criticizes common lust while praises the godly love by comparing his state of mind before and after Beatrice’s death. PJ Klemp essay “Layers of love in Dante’s Vita Nuova” explains the origins of Dante’s love in Plato and Aristotle themes that designate
Jacoff, Rachel and Jeffrey T. Schnapp. The Poetry of Allusion: Virgil and Ovid in Dante’s Commedia. Stanford: Stanford UP, 1991.
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.
Boardman, Phillip C. "Geoffrey Chaucer (c. 1343-1400)." Enduring Legacies: Ancient and Medieval Cultures. 6th ed. Boston: Pearson Custom Pub., 2000. 430-54. Print.
Characters in literature who exhibit pride or live as a voice of reason, often share certain characteristics between each other. Prideful characters often allow their pride to influence their actions, while voices of reason advise the lead character, hoping that the lead character will listen to them. Dante’s Inferno and Sophocles’ Oedipus Rex share similarities through their lead characters, Dante (the pilgrim) from Dante’s Inferno and Oedipus from Oedipus Rex, as well as through their voices of reason, Virgil from Dante’s Inferno and Creon from Oedipus Rex
...fraud. Given the persistent problems between the Ghibellines and Guelfs or the infighting among the Black and White Guelfs, bloodletting was the order of the day. Great blood feuds usually came about from trivial disputes such as stepping on a person’s foot that normally escalated exponentially to pitched battles on the streets. Many so-called aristocrats deeply concerned with their family honor powerfully influenced Florence's culture; these would be inclined to countenance bloodshed. Furthermore, they were quite hostile to those who sought power by alternate means such as wealthy merchants (mostly rich from usury) that did not use violence but instead fraud and corruption during earlier years of the Renaissance. This helps explain why Dante decided to position fraud and usury before violence given the circumstances in which he saw the political climate at the time.
Mandell, Jerome. Geoffrey Chaucer : building the fragments of the Canterbury tales. N.J. : Fairleigh Dickinson University Press, 1992.
Thesis- Dante and Virgil have an interesting relationship that changes throughout Dante’s Inferno. They started off very different and Virgil didn’t care much for Dante. Dante looked at Virgil differently after he had heard Beatrice sent him to guide him. Throughout their travels, their relationship changed as they went through every layer of hell. Something happened in each one that changed their relationship either drastically, or barely at all. Their travels are very intriguing and their relationship is very complex. They become very close, so much that Dante acquires a deep trust in Virgil. They are no longer “just friends.” They are both poets and can communicate very well through words and Literature.
Dante’s initial reaction to meeting Virgil reveals his penchant for the worldly as opposed to the divine. He addresses Virgil humbly, his words dripping with praise. “Are you then that Virgil, you the fountain/ that freely...
“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.
Alighieri, Dante. The Divine Comedy of Dante Alighieri: Inferno. Trans. Allen Mandelbaum. Notes Allen Mandelbaum and Gabriel Marruzzo. New York: Bantam Books, 1980
...taneously praises Virgil (Dante, 1.2.82-87) and then provides evidence that he himself is a type of Virgil. He refers to “Dante” as a type of Aeneas in the scene with Cacciaguida; therefore, by extension, Dante too would be a type of Virgil. Dante shows himself to be a new (and better) Virgil at the allegorical level upon which the Divine Comedy can be seen as guiding every Christian to salvation. Dante uses typology in order to make this point– for him, Virgil is not only a great poet, but a figure in literature that prefigures or foreshadows another, greater figure. So Dante is, in this way, a fulfillment of Virgil, both as a character and a poet.
Beidler, Peter G. "Chaucer's Tales" Chaucer Review Vol: 34, Issue: 4. April 01, 2000. 388-397
Chaucer, Geoffrey. The Canterbury Tales: Riverside Chaucer Third Edition. Ed. Larry D. Benson. Boston: Houghton Mifflin Company,1987. 3-328 Secondary
Two of the greatest masters of British literature, Shakespeare and Chaucer, tended to look to the classics when searching for inspiration. A lesser-known example of this lies in an ancient tale from Greece about two star-crossed lovers. There are many variations on the names of these lovers, but for the purpose of solidarity, they shall henceforth be referred to as “Troilus and Criseyde” for Chaucer and “Troilus and Cressida” for Shakespeare. Chaucer’s “Troilus and Criseyde” offers up a classic tale of love that is doomed, whereas Shakespeare’s “Troilus and Cressida” is not only tragic but also biting in its judgment and representation of characters. This difference may be due to the differences in time periods for the two authors, or their own personal dispositions, but there can be no denying the many deviations from Chaucer’s work that Shakespeare employs. Shakespeare’s work, by making the characters and situations more relatable, builds upon Chaucer’s original work, rather than improving it or shattering it.