It is with the second circle that the real tortures of Hell begin. There lie the most heavy-hearted criminals in all of Hell, those who died for true love. Here, those who could not control their sexual passion, are buffeted and whirled endlessly through the murky air by a great windstorm. This symbolizes their confusing of their reason by passion and lust. According to Dante, ?SEMIRAMIS is there, and DIDO, CLEOPATRA, HELLEN, ACHILLES, PARIS, and TRISTAN?
Those that are intentional and calculated are deemed more heinous than those that are out of passion. There are many reasons why this piece of literature make me think and develops my own ideas of what lies beyond this world. Dante’s Inferno causes religious thought and makes a person question their own action. Dante has invoked me to search deeper into my beliefs of life and death. This poem has a great magnitude of contemplation.
Characters and Creatures of Inferno Throughout Dante's terrifying quest into the depths of Inferno he encounters many mythological characters and creatures. The legendary characters that Dante borrows from the Greek mythology are punished in his hell for deceiving others and succumbing to the excitement of passion, amongst them are Dido, Odysseus, Achilles, Paris and Helen, Tristan and Sinon. The mythical monsters oversee these damned souls. These imaginary creatures are of central importance to Dante’s journey and to the narrative, as they not only challenge his presence in Inferno, but also are guardians of Hell, judging and punishing the souls. As well, they represent important themes in the Inferno, and are interpretations of important symbols.
Virgil’s guidance will provide contrast and the necessary guidance to reach Paradise. The change of character Dante experience, is dreadful; pity and remorse must be exempted to honor retribution for the sinners’ defiance against God. All the answers regarding Hell, lies upon meeting the primal sinner, Lucifer, the Fallen Angel. Dante’s journey unfolds a critical analysis in which portrays the human struggle in every individual. There are several implications of the four functions of myth that can be derived from Dante’s Inferno.
Dante uses over the top examples of punishments for sins committed and the differing levels of shame the sinners feel to cause the reader to reevaluate his or her own life in the context of religious wrongdoings. The over the top punishments and shame are needed in this work of art to relay the predominant meaning. The intense and imaginative punishments Dante relays to the reader cause the reader to look at their life and think about the sins he or she has committed. The punishments for sin in The Inferno increase in severity with the greater the sin. In the vestibule of Hell, Dante come across the opportunists.
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. The geography for each circle of Hell's misery is distinctly arranged to coincide with the sin of the sinners contained within. In Canto V, we are taken to the prison of those souls who were unable to master their own desires. These are those who "betrayed reason to their appetite" (1033), allowing the lust of flesh and carnal things overcome their God-given human reasoning. It is here that we see a dark and deafening Hell, full with the roar of the anguish of the condemned dead.
The borrowed torturous forms of punishments create a physical pain for the shades, whereas the creative punishments are used to inflict a mental and psychological suffering. However, it is possible for the creative punishments to inflict both a mental and physical pain upon the sinner. Several punishments that Dante envisions for the various sinners are borrowed from forms of torture. The first physical punishment Dante borrows from that is his punishment for the heretics. The penalty in the medieval era for heresy was often public humiliation or to burn to death.
In Dante’s Inferno, we followed Dante as he narrates his decent and observations of hell. A wonderful part of that depiction is his descriptions of the creative yet cruel punishments that each of the different sinners receive. This story is an integral part of literary history, and even if I were to have the imagination and ability of Dante Alighieri, I don’t believe I would change this tried and true version known universally. Since I have the desire to maintain the validity of Dante’s version of hell in its entirety, I will explain the parts I found most intriguing, and why. His use of incredible and descript wording was impressive.
In Dante’s Inferno, Dante is taken on a journey through hell. On this journey, Dane sees the many different forms of sins, and each with its own unique contrapasso, or counter-suffering. Each of these punishments reflects the sin of a person, usually offering some ironic way of suffering as a sort of revenge for breaking God’s law. As Dante wrote this work and developed the contrapassos, he allows himself to play God, deciding who is in hell and why they are there. He uses this opportunity to strike at his foes, placing them in the bowels of hell, saying that they have nothing to look forward to but the agony of suffering and the separation from God.
Starting with a lesser heaven and ending with the icy cold ninth circle, where Lucifer resides. In each circle, sinners are punished according to their crimes. For example, those who get sent to the lustful circle are forced to endure ravishing winds and storms for all eternity. As Dante travels through hell, the punishments become much worse The first level is purgatory, canto four, a place where people who neither did good or bad go. The idea of purgatory, or limbo, is a region that lies on the edge of hell where those who were not saved even though they did no wrong were sent after death.