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dante's inferno analysis
dante's inferno analysis
dante's inferno analysis
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Comparing Dante's Inferno and the Movie, What Dreams May Come
The movie's opening scene gives allusions to Dante's own life and his brief courtship with Beatrice. Chris (Robin Williams) begins, "When I was young, I met this beautiful girl on a lake," just as Dante had met Beatrice when he was young. This lake just happens to be on the boarder of Switzerland and Italy, Dante's native country. Anna, Chris' love, finds him sitting on a hillside overlooking that lake, and that scene will become a major focus for the rest of the movie. They believe that they are soul mates, and unlike Dante and Beatrice, Chris and Anna marry and have two children.
Set in modern times, a series of mortal tragedies unlocks a series of immortal adventures. As teenagers, the children die in a car crash, and Chris dies four years later. Anna is stricken by grief for the rest of her life because she feels that the deaths were her fault. As soon as Chris dies, an image begins to explain to Chris what his new situation is. Chris doesn't believe he is dead. Chris recognizes this image as Albert, a doctor he studied under during Med. school. As a guiding light on earth, he has chosen Albert to be helpful after death. Albert (Cuba Gooding Jr.) explains to him that whenever Chris stays on Earth trying to be close to Anna, he hurts her even more. During the movie, flashbacks to their time on earth occur frequently, and while Chris is freshly dead, a painting that his wife had made is shown. This painting looks to me like two figures standing before the Dark Wood of Error. Chris enters his private heaven, which Albert explains is a dream conjured up by the deceased's imagination. In this case, it's the painting Anna drew of the spot they met at in Italy. ...
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...cing eternal danger for himself. Freud stays outside (as far as human reason can go), and Chris goes in and sees Anna (who isn't a tree even though she commits suicide). He eventually makes Anna recognize him, and of course their love is stronger than anything (blah, blah, blah), and they end up in heaven- a paradise- if you will- and live happily ever after with their kids and their Dalmatian. The Dalmatian seems like it could be an allusion to the leopard, the symbol of the fraudulent and Malicious, but he's a good dog in the movie. Also, Anna's red scarf is often flying around the heaven in a whirlwind. It's red, so it could symbolize lovers like Paolo and Francesca, but in a positive way, or it could allude to the banner chased by the opportunists, but I doubt it. It symbolizes love, and Chris' inability to grasp a hold of Anna while she still lived- I think.
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.
Irene encounters Hecate the Dark Moon in her first two visits to her grandmother. This image of the grandmother is reinforced in two ways in Irene's encounter with her. First, her physical description matches the dark aspect, "she was dressed in black velvet with thick white heavy-looking lace about it; and on the black dress her hair shone like silver"(MacDonald, 13). Silver is the metal associated with the moon (Jobes 119). In addition, as Hecate is one of the caretakers of children (Stapleton, 89) and in the second scene with the grandmother, while she is still Hecate, she heals Irene's injured thumb. However, there is a much more subtle way in which the grandmother is developed as being Hecate. Since Hecate is the moon before, "she has risen and after she has set," (Jobes 1120) then the dark aspect of the grandmother in her first two scenes demonstrates that Irene is still in the dark period before her major transformation, before being brought into full illumination.
The first example of symbolism we encounter is in the first chapter and comes in the form of dreams. When Amabelle and Sebastian open up to one another it is through their shared experiences, which are most usually, their dreams. They are able to be the most themselves when they are not in real life experiences, though it sounds like an oxymoron, the juxtapose between dreams and reality says a great deal about the characters. Dreams are essentially escapes from reality, and when Amabelle and Sebastian share their dreams with one another it serves as an escape. It becomes clear that they share the desire to escape, but escape from what exactly, their pasts, presence, or futures? This implication of escape prepares readers for the escapes made by the lovers near the end of the story. On page 2 Amabelle says of her nocturnal escapes, "It's either be in a nightmare or be nowhere at all. Or otherwise simply float inside these remembrances, grieving for who I was, and even more for what I've become." This quotation implies that that even her life has become a nightmare. Readers can infer that a good night's sleep would be Amabelle's only chance of escape. Her nightmares are destroying her life, and her life...
There are more clues and subtle hints that reinforce these statements, most correlating to her mental illness and self-perception. The statements made through the use of said symbolism turns this story into an interesting viewpoint of a psychological breakdown.
Warner, Marina. From the Beast to the Blond on Fairy Tales and Their Tellers. New York: Chatto & Windus, 1994. Print.
In one, a specimen-creating brute robs a pelican child’s life and her guardian trying to bring her back to life. In the other, a prince learns the value of his frog-turned-princess and sets out on a quest to find her. Joy Williams’s Baba Iaga and the Pelican Child and Alexander Afanasev’s The Frog Princess are both critical facets of the fairy tale genre. While initially it may seem that Williams preserved no elements from Afanasev’s tale, upon a closer glance, it is evident that the two tales’ similarities outnumber their differences. By incorporating a generous portion of the original story into his, Williams’s version brings forth an innovative arrangement of classic and new. As a result, William’s tale introduces features to the tale that mirror everyday life lessons while simultaneously maintaining qualities that are reflective of the definitional aspects of the fairy tale genre.
“Her face was fair and pretty, with eyes like two bits of night-sky, each with a star dissolved in the blue.” This elaborate simile creates a mental image of the natural beauty of the young princess, Irene, by comparing her eyes to the night sky. The simile also parallels the depth of Irene’s soul to the dark, endless night sky.
Traditionally in most fairy tales, the action occurring within the story moves along at a very quick pace, and it provides the basis for conflict and suspense. This is accomplished through the "use of repetition both in expressions and events" (Bruti). Generally the plot is based on a cycle of three recurrences, with each event acting as an episode or sub-story within the general story, and this pattern of three is often repeated one or more times throughout the story depending on the complexity of the tale (Morris). Following in the path of tradition, Perrault's tale also employs the use of repetition, with events occurring in patterns of three.
The author’s message is given through use of put meaning behind the chrysanthemums in the story making them symbols for anamplitude of different meanings.
This modern fairy tale contains diverse characters but none of them is as important as the grandmother. Through her narration, the reader gets all the information needed to understand the story. Indeed, by telling her own story she provides the reader the familial context in which the story is set with her granddaughter and her daughter but even more important, she provides details on her own life which should teach and therefore protect her grand-daughter from men, and then save her to endure or experience her past griefs. This unnamed grand-mother is telling her life under a fairy tale form which exemplify two major properties of fairy tale, as mentioned by Marina Warner in “The Old Wives' Tale”: “Fairy tales exchange knowledge [through the moral] between an older [most of the time feminine] voice of experience and a younger audience”. As suggested in the text, fairy tales are a way to teach insights of life through simple stories directed to, most of the time, younger generations. Most of the time because fairy tales work on different levels of moral which are directed to categories of people, for instance in “Little Red Riding Hood” the moral ...
To conclude, indeed there are veracities in Waltz arguments, but also there are limitations which cannot totally explain how the international system interacts with actors from different levels. The features of the world after the Cold War do not resemble what the world is today. Phenomenon such as integration, interdependence among states and the creation of international instruments are the result of states' behavior which are constantly shaping the world politics. Therefore, one theoretical ideology by itself will not fully explain the progressive changes in the international system, taking into account that states do influence in the international system.
In the classical tale of Little Red Riding Hood, Little Red Riding Hood leaves her mother to visit her grandmother, and both the women possess the feminine roles in the society. The story commences in the kitchen with the mother baking. In many cultures, the communities assume that the women should cook, clean, and tend to impositions inside the household. As the grandmother appears in the plotline, the author illustrates her to be ailing and feeble. By describing this elderly female in the manner of weakness, the author subconsciously implies the faintness and vulnerability of women brought on by the ideas and practices of an earlier time period. The grandmother becomes vulnerable and naïve as she expresses her susceptibility to the wolf when she tells him she is “too weak to get out of bed” (Hyman 12). By admitting to her helplessness, she acknowledges the weakness of her gender to the more superior male wolf.
..., Maria. “An Introduction to Fairy Tales.” Writing and Reading Across the Curriculum. Ed. Laurence Behrens, Leonard J. Rosen. Toronto: Longman, 2013. 230-235. Print.
Guy de Maupassant’s “The Necklace” is a twisted and broken fairytale.* Although this short story does embody some elements of fantasy, there is not merely enough evidence to support the claim that it is in fact a “ modern fairytale.” Fairytales often include themes such as enchantment, which is shown when the main character dreams, but is this really such an enchanting thing? Another theme found in fairytales is an encounter with the main struggle, in “The Necklace,” the main character also comes to face with a challenge, but this challenge does not accurately fit the characteristics of an encounter. A third example of an element of a fairytale is the presence of a weak male figure. In this case, there is a weak man but he does not remain weak throughout the story. One final characteristic of a fairytale is the journey that is taken, in “The Necklace,” the main character does take certain steps, but are these steps really considered a ‘journey’? As will be learned, none of these elements found in fairytales truly conform to “The Necklace,” therefore not making it a “modern fairytale.”+
In most institutions of learning today, the classes are made up of students from different ethnic backgrounds. These have different traditions and also speak different languages. In a typical classroom, the majority of the students will speak the same language. The teacher must then employ strategies which will accommodate all the students in the class. This will ensure that every learner gets the best quality of education. This will enable them to be better prepared for career and expressing themselves. In this paper, strategies to assist learners of the English language in their literal development for third grade learners. In the paper, three strategies that can be used by the teacher will be discussed. New strategies and research that will help the English language learners to gain in depth mastery of the language will also be discussed. Due to the widespread learning of the English language in most schools, addressing issues of the language learners is of vital importance. Teachers should have the understanding that cultures are what give someone identity and therefore no student should leave their culture for another. Instead, there should be the blending of different cultures so that students can appreciate and learn from each other.