Dante's use of allegory in the Inferno greatly varies from Plato's "Allegory of the Cave" in purpose, symbolism, characters and mentors, and in attitude toward the world. An analysis of each of these elements in both allegories will provide an interesting comparison. Dante uses allegory to relate the sinner's punishment to his sin, while Plato uses allegory to discuss ignorance and knowledge. Dante's Inferno describes the descent through Hell from the upper level of the opportunists to the most evil, the treacherous, on the lowest level. His allegorical poem describes a hierarchy of evil.
Conversely, Plato's "Allegory of the Cave" describes the ascent from ignorance to knowledge, as one prisoner is freed to make his way up towards the opening of the cave and experiences sunlight, the unavoidable truth. Symbolism is an essential element of both works. In Plato's allegory symbols are used to represent truth, ignorance, society and the fear of change. Truth is represented by the sun, while ignorance is represented by the cave, its limited vision and darkness within. The prisoners represent ignorant members of society who are content to believe that what they see is all that exists. Fear of change is represented by the prisoners angry reaction towards the freed, enlightened prisoner.
Dante's Inferno is a detailed description of sin and its relationship to degrees of punishment. As stated in the text, "...for the face was reversed on the neck, and the...
Throughout Plato 's story "The Allegory of the cave" men are stuck in this cave with their backs turned away from the light, until one day a man turns towards the light and learns for himself what the light is about. The man than explores and begins to educate himself on everything and anything, he then tries to take everything he has learned back down to the cave to get his fellow cave members to step out and learn what the light is all about. The metaphor that Plato 's places in this story is how the cave is represents the human mind and the light represents the understanding of life
For centuries humans have been drawing parallels to help explain or understand different concepts. These parallels, or allegories, tell a simple story and their purpose is to use another point of view to help guide individuals into the correct line of thought. “The only stable element in a literary work is its words, which if one knows the language in which it is written, have a meaning. The significance of that meaning is what may be called allegory.”(Bloomfield) 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.
Fantastic elements occur in both Dante’s Inferno and The Tales of Sinbad but it is obvious that Inferno uses a lot more of the fantastic than Sinbad. In Dante’s Inferno, there are several fictional creatures (Cereberus, the Furies, Geryon) in the realms of hell, which all serve a specific purpose in hell and in Dante’s journey through the depths of hell. Through Sinbad’s journey, we see a lesser quantity of fantastic creatures, but, similar to Dante’s Inferno, the creatures that appear in Sinbad’s voyages all serve a purpose to the plot of the story. The main connection that both Dante and Sinbad have in relation to the use of the fantastic in their journeys is the purpose of the fantastic creatures themselves—they serve to cause death among others, but oftentimes are the sources that help advance the plot of the poem forward.
In analyzing this gradient of morality, it is useful first to examine a work from early literature whose strong purity of morality is unwavering; for the purposes of this discussion, Dante’s Inferno provides this model. It is fairly straightforward to discover Dante’s dualistic construction of morality in his winding caverns of Hell; each stern, finite circle of Hell is associated with a clear sin that is both definable and directly punishable. As Dante moves downwards in this moral machination, he notes that
The Allegory of the Cave is a hypothetical scenario, described by Plato, in the form of a conversation between Socrates and Glaucon. Socrates describes the picture of prisoners living in a cave where they have no source of light except for the one provided by the fire. There since birth, the prisoners live in a fixed position, staring at the shadows that are projected onto the walls. The puppeteers walk along a path behind the chained prisoners, each holding different objects. They live in a state of constant prediction, waiting for future shadows to be cast. As the objects reflect into shadows, the prisoners guess what the projections are and what they represent. The conversation reveals Socrates thoughts of human ignorance and the imprisonment of humans, trapped in society. It covers the search for truth and the desire to share it with others and free them from the bondage of ignorance. Socrates metaphor can represent education, religion, and our interaction with society. The prisoners in the cave lack education and you can
...ards monstrous figures and sympathy towards those who seem to be tortured unjustly. In his perverse education, with instruction from Virgil and the shades, Dante learns to replace mercy with brutality, because sympathy in Hell condones sin and denies divine justice. The ancient philosopher Plato, present in the first level of Hell, argues in The Allegory of the Cave that truth is possible via knowledge of the Form of the Good. Similarly, Dante acquires truth through a gradual understanding of contrapasso and the recognition of divine justice in the afterlife. Ultimately, Dante recognizes that the actions of the earthly fresh are important because the soul lives on afterwards to face the ramifications. By expressing his ideas on morality and righteousness, Dante writes a work worth reading, immortalizes his name, and exalts the beliefs of his Christian audience.
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
The Allegory of the Cave is Plato's explanation of the education of the soul toward enlightenment. He sees it as what happens when someone is educated to the level of philosopher. He contends that they must "go back into the cave" or return to the everyday world of politics, greed and power struggles. The Allegory also attacks people who rely upon or are slaves to their senses. The chains that bind the prisoners are the senses. The fun of the allegory is to try to put all the details of the cave into your interpretation. In other words, what are the models the guards carry? the fire? the struggle out of the cave? the sunlight? the shadows on the cave wall? Socrates, in Book VII of The Republic, just after the allegory told us that the cave was our world and the fire was our sun. He said the path of the prisoner was our soul's ascent to knowledge or enlightenment. He equated our world of sight with the intellect's world of opinion. Both were at the bottom of the ladder of knowledge. Our world of sight allows us to "see" things that are not real, such as parallel lines and perfect circles. He calls this higher understanding the world "abstract Reality" or the Intelligeble world. He equates this abstract reality with the knowledge that comes from reasoning and finally understanding. On the physical side, our world of sight, the stages of growth are first recognition of images (the shadows on the cave wall) then the recognition of objects (the models the guards carry) To understand abstract reality requires the understanding of mathematics and finally the forms or the Ideals of all things (the world outside the cave). But our understanding of the physical world is mirrored in our minds by our ways of thinking. First comes imagination (Socrates thought little of creativity), then our unfounded but real beliefs. Opinion gives way to knowledge through reasoning (learned though mathematics). Finally, the realization of the forms is mirrored by the level of Understanding in the Ways of Thinking. The key to the struggle for knowledge is the reasoning skills acquired through mathematics as they are applied to understanding ourselves. The shadows on the cave wall change continually and are of little worth, but the reality out side the cave never changes and that makes it important.
Inferno, the first part of Divina Commedia, or the Divine Comedy, by Dante Alighieri, is the story of a man's journey through Hell and the observance of punishments incurred as a result of the committance of sin. In all cases the severity of the punishment, and the punishment itself, has a direct correlation to the sin committed. The punishments are fitting in that they are symbolic of the actual sin; in other words, "They got what they wanted." (Literature of the Western World, p.1409) According to Dante, Hell has two divisions: Upper Hell, devoted to those who perpetrated sins of incontinence, and Lower Hell, devoted to those who perpetrated sins of malice. The divisions of Hell are likewise split into levels corresponding to sin. Each of the levels and the divisions within levels 7,8, and 9 have an analogous historical or mythological figure used to illustrate and exemplify the sin.
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.
Portraying the prisoners inside the cave for a lifetime further describes his beliefs on how closed minded society is in his opinion. The “light outside the cave” explains how he feels knowledge is the source of light to everyone’s lives. Without knowledge, there is lack of light. Also, since society does not want to gain further knowledge, they will seem to stay stuck in the dark tunnel. Plato also uses personification to give reader insight on how someone may treat the earth and appreciate it. For example, Plato states “Clearly, he said, he would first see the sun and then reason about him.” The reasoning behind this is to explain how a man would reason with the sun as if it were an actual speaking person. The style of Plato’s writing gives readers an understanding on why his work is named “Allegory of the Cave”. The use of his rhetorical devices give deeper meanings to the Earth and the nature it
Dante Alighieri presents a vivid and awakening view of the depths of Hell in the first book of his Divine Comedy, the Inferno. The reader is allowed to contemplate the state of his own soul as Dante "visits" and views the state of the souls of those eternally assigned to Hell's hallows. While any one of the cantos written in Inferno will offer an excellent description of the suffering and justice of hell, Canto V offers a poignant view of the assignment of punishment based on the committed sin. Through this close reading, we will examine three distinct areas of Dante's hell: the geography and punishment the sinner is restricted to, the character of the sinner, and the "fairness" or justice of the punishment in relation to the sin. Dante's Inferno is an ordered and descriptive journey that allows the reader the chance to see his own shortcomings in the sinners presented in the text.
Moreover, Dante, the narrator of the Inferno, has succeeded in not only telling the frightening story of the Inferno, but also pointing out the importance of the relationship between human’s sins and God’s retribution, using the monsters as the symbols for each kind of sin and its punishment throughout the progress of the story, which teaches his readers to be well aware of their sins through the literature – a part of humanities; the disciplines that teach a man to be a human.
The Allegory of the Cave is a parable that demonstrates how humans are afraid of change and what they do not know. In this work, Plato suggests a situation in which men are living in an underground cave. The one entrance is located near the top and there, a burning fire casts shadow. The men of the cave are chained so that they can only see the wall and cannot turn around. When objects pass by it creates a shadow on the wall. The shadows are the only thing they can see and therefore is the only thing they know to exist (747). Somehow one of them gets loose and wanders outside the cave (748). When he gets out, he is astonished at what he finds. He comes back in to tell the others about what he saw. The other men think he is mad and plot to kill him (749). This illustrates how fear, inherent in the primitive nature of man, only serves to promote his ignorance.
In "Allegory of the Cave" Plato's describes the journey, which individuals must embark on in order to achieve enlightenment. Plato depicts a comprehensive metaphor that aims to outline the disadvantages we face as a result of a lack of education. When analyzing the ‘Allegory of the Cave’ it's imperative to remember that there are two elements to the story. The first element is the fictional metaphor of the prisoners and the second element is the philosophical view in which the story is supposed to portray, therefore presenting us with the allegory itself.