Use Of Allegory In Dante Inferno

Use Of Allegory In Dante Inferno
In Dante Alighieri The Divine Comedy, Dante uses powerful imagery and goes into immense detail
on a journey to the afterlife. Dante uses a lot of well–written imagery to make his story seem more
relatable and real, to scare his readers into believing that you need only turn to God for the
forgiveness of sin. At the beginning of the story, Dante is walking in the woods in darkness feeling
sad and not right with God, after this Dante see a mountain and tries to go up but he is blocked by
three beasts which represent sin. Most everything in this story is an allegory, he means two things,
literal and figurative meaning. "I came to a place stripped bare of every light and roaring on naked
dark like seas wracked by a war of winds" (Canto 5 inferno), this when Dante goes into the second
circle of hell and watches as the lustful are swirl around in this never–ending storm of lust. Dante is
using this point of view to try and give a realistic vibe to the readers. He talks to Francesca and
Paolo two lovers who were murdered after found having affair against Francesca husband Giovanni
Malatesta. After talking to them Dante is starting to get a sense of how real his journey is, he is
feeling overwhelmed Dante falls to the ground and pass is out. "And while one spirit Francesca said
these words to me, the other Paolo wept, so that, because of pity, I fainted, as if I had met my death.
And then I fell as a dead body falls."(139–142) "O reader, do not ask me how I
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Movement and Stasis in the Divine Comedy Essay
Movement and Stasis : The use of dynamics in the Divine Comedy
Movement is a crucial theme of the Divine Comedy. From the outset, we are confronted with the
physicality of the lost Dante, wandering in the perilous dark wood. His movement within the strange
place is confused and faltering; `Io non so ben ridir com'io v'entrai'. Moreover, it is clear that the
physical distress he is experiencing is the visible manifestation of the mental anguish the poet is
suffering. The allegory of the image is one of mid–life crisis, but it is physically represented by the
man losing his way in a dark wood. Such an observation may seem far too simple and obvious to be
worthy of comment. However, I would argue that it is from this primary example ... Show more
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The first passage is probably the most famous in the whole work, that of Francesca da Rimini, in
Canto V of the Inferno . Condemned for her inconstancy, that is to say her lust, Francesca is
contained in the eternal whirlwind of the `bufera infernale', alongside her lover, Paolo. In a clear
parallel to her sin, she is buffeted by the inconstant wind. Although unceasing, the wind changes
direction and force, a movement which is mirrored by the language used to describe it:
Di qua, di là, di giù, di su li mena;
nulla speranza li conforta mai,
non che di posa, ma minor pena.
(43–45, Canto V, Inf.)
In addition to the basic rhyme of the terza rima, the internal rhyme is carefully manipulated to
imitate phonologically the swirling of the wind. By balancing the repeated [a] of `di qua, di la' with
the [u:] of the `di giù, di su', Dante is able to mimic the up and down movement of the air.
Francesca, then, is an extremely `mobile' sinner. Although pausing to speak to Dante (the
significance of which will be later discussed), she is compelled to move – indeed, it is an integral
part of her punishment. This compulsion is significant. Through rejecting a life of constancy on
earth, whether willingly or otherwise, Francesca has sacrificed the free will she was allowed to exert
on her body. Having lost control of herself in life she is plunged into the chaos of the `bufera'. Her
punishment then, is not merely an

The Divine Comedy In Dante's Inferno
The Divine Comedy acknowledged as Dante's Inferno was written in the 14th century and is an epic
poem with allegorical value. Dante the Pilgrim is 35 years old and he was "midway along the
journey of our life"(TEXTBOOK). Dante the pilgrim is lost in the dark wood, where he meets his
guide named Virgil and he escorts Dante through the nine circles of hell. Virgil symbolizes human
reason and wisdom. In the beginning, Dante was sympathetic for all of the people he saw suffering
in hell, but as time goes by and as Dante gets deeper into hell, he realizes that the suffering people
are getting what they deserve. Dante the Pilgrim grow as a character thought the story The first
circle of hell is Limbo and this is where it is "a place of sorrow without torment" (Dante's Inferno 1).
The virtuous non–Christians and unbaptized infants reside in this circle. These people are not saved,
but they did not sin. They are punished by being forced to live for eternity in an inferior version of
Heaven. They are living in a castle that has seven gates. They represent the seven virtues. Dante sees
many famous people of the past "like Homer, Socrates, Aristotle, Cicero, Hippocrates and Julius
Caesar (9 Circles of Hell). He has the upmost respect for these public figures.
In the second circle of hell is where those who committed lustful acts are punished. They are
penalized by being blown violently back and forth by extremely powerful wind. This wind does not
allow the inhabitants to find

The Influence Of Culture In Dante's Inferno
Scottish philosopher Thomas Carlyle (1795–1881) once said, "Culture is the process by which a
person becomes all that they were created capable of being"(BrainyQuote 2017). Over the length of
one's journey, they may discover more of their cultural capability. Understanding culture can help
people understand themselves. In Dante Alighieri's epic Inferno, Dante uncovers knowledge of his
personal beliefs, morals, and values. The culture of oneself is important in the development of their
own character. Dante is a sinner who after death will descend into Hell to work off his punishment.
While traveling he meets the great poet Virgil and he becomes Dante's guide into those fiery pits of
Lucifer. Virgil takes Dante to the gates of Hell where the fearful Dante must put all his trust into his
master to keep him safe: "His hand on mine: so, trusting to my guide, / I followed him among things
disclosed" (Alighieri 3.17–18). Dante takes Virgil's hand as he leads him toward the unknown
depths of Hell.Virgil expects Dante to trust him in which he does. Dante talks of things disclosed
which refers to the unknowingness of what lies before him. He is fearful of the unknown but must
trust Virgil to keep him away from danger. Once Dante and Virgil reach Hell they must cross the
river to Minos where all the unclean souls wait for judgment. When you descend to Hell you are
forced to wait in a line to see the deceased King Minos. There he puts you into the circle where you
will start to work

Inferno In Dante's The Dark Wood Of Error
In the beginning of his epic, Inferno, Dante seems to have "abandoned the true path" (1.12). He is
lost in a dark forest, which symbolizes not only Dante's loss of morality, but all of humanity's sins
on Earth. The Dark Wood of Error is a foreshadowing of what the afterlife would be like for Dante
without God and without any meaning. Dante appears to be suffering through a mid–life crisis as he
flirts with the idea of death, saying, "so bitter–death is hardly more severe" (1.7). Dante has lost his
dignity and moral direction following his exile from Florence. Dante must travel through Hell and
witness the worst crimes ever committed by humans. By traveling through the depths of Satan's
world, Dante is given an opportunity to reconnect with Christianity. Many people claim that Dante
journeys through Hell for revenge, but in fact he is hoping to reset his own moral compass and find
God. As Dante explores the Second Circle of Hell, he is horrified by the punishments that the
sinners must suffer through. When he hears the story of Francesca and Paolo's lustful actions, Dante
relates deeply to their stuggles because he reflects on his own sins and believes he may be cast to a
similar fate in the afterlife. Dante reacts to the story when he says, "I fainted, as if I had met my
death. / And then I fell as a dead body falls" (5.142–143). Dante faints from compassion for the two
sinners' pitiful story. Dante struggles to grasp the wrongdoing these people have participated in to be
placed in Hell because he continues to search for the noble qualities in everyone. On the one hand,
Dante believes God's punishment for the lustful sinners, relentless winds and storms, is unethical.
On the other hand, this belief is naive because it is known that all of God's punishments are just. The
lustful are condemned to an eternity in Hell because they did not care about their actions on Earth,
so the raging storm that torments them is not concerned with what is in its path. Dante is not only
attempting to discover the possible consequences of his own actions, but also learning to trust in
God's judgement. Many readers argue that Dante's intentions during his journey into Hell were to
gain revenge on his enemies. In each Circle of

Dante 's Inferno, By Dante The Pilgrim
From the very beginning of Dante's Inferno, a difference in the characterization of Dante the Poet
and Dante the Pilgrim is very evident. While Dante the Poet is the one essentially writing the epic
poem and shamelessly assigning each sinner's punishment, Dante the Pilgrim is traveling through
the different Circles of Hell and experiencing each sinner's emotions first hand. Dante the Poet has a
different perspective on each sinner which permits him to be aware of details that Dante the Pilgrim
is oblivious to, thus leading to their differing viewpoints on each person encountered. By examining
Dante the Pilgrim's actions towards sinners through the duration of this epic poem, specifically
when interacting with those placed in Limbo, Francesca and Paolo, Phlegyas, and eventually Bocca,
a transition within Dante the Pilgrim's attitude towards the sinners is very apparent. Because the sins
became more and more extreme in both God and Dante the Poet's eyes as they traveled through each
circle and ultimately approached Circle Nine of Hell, Dante the Pilgrim transformed into a character
very similar to Dante the Poet. Beginning in Circle One of Hell, Dante the Pilgrim's actions allow
for his quick alteration as a character to be very clear at the conclusion of the epic poem. While in
this circle, he often expresses high levels of emotion towards the sinners he meets, such as Homer,
Horace, Ovid, and Lucan. The poet determined each human placed in this circle was there because

Similarities Between Bitter Rice And Rocco And His Brothers
Both Giuseppe De Santis' Bitter Rice and Luchino Visconti's Rocco and His Brothers are stories of
unhappy lots attempting to escape their squalid fates by fleeing their current circumstances for the
greener grass on the other side. Francesca and Walter, the runaway city thieves of Bitter Rice, look
for safety amidst the grueling annual rice harvest provided by the mighty river Po, while the poor
Parondi family of Rocco and His Brothers seek a new life amidst the unfamiliar urban chaos of
Milan. While the two films vary widely in structure – Bitter Rice is a snappy melodrama that traffics
a great deal in sex appeal and tells the story of a single season, whereas Rocco and His Brothers is a
sweeping epic set over the course of years concerning the delicate bonds between family – their real
similarity lies in their basic moral center: hard work is a righteous calling, whereas attempting to
skirt work in order to enjoy urban luxuries is a deplorable waste. Bitter Rice is the story of roles
destined for two women; one a hardworking rice farmer, the other a passive accomplice to a morally
bankrupt crook. Over the course of the film, our two main characters Silvania and Francesca trade
places, with Silvania descending into immorality with the help of two–bit thief Walter and Francesca
coming to her senses alongside world–weary soldier Marco. Meanwhile, Rocco and His Brothers'
eponymous protagonist is an almost saintly figure, sacrificing personal success and romantic
satisfaction

Dante's Inferno Canto V Analysis Essay
Barbara Leon
Humanities 2
Canto V Analysis
10/06/05
Canto V Analysis
SUMMARY
Dante and Virgil have just left limbo, the first circle of hell, and are now on their way into the
second circle of hell, where hell really begins. It is here that Dante first witnesses the punishment
brought upon the sinners. They encounter Minos, the beast–judge who blocks the way into the
second circle. He examines each soul as they pass through and determines which circle of hell they
must go to by winding his tail around himself. Minos warns Dante of passing through but Virgil
silences him. Dante encounters a dark place completely sucked of any light and filled with noises
more horrible than a tempest and sees the souls being whirled around in a ... Show more content on
Helpwriting.net ...
TONE This Canto describes the first real level of hell. The canto is very poetic and makes use of
many similes, metaphors, and adjectives. There is also no shortage of hyperboles. The canto begins
by describing the qualities of the second circle by describing the "voice of the damned rose in a
bestial moan," (v 3) referring to the damned rose as those lovers driven by passion who were
condemned for their acts of adultery.
In verse 25, Dante describes the choir of anguish to be "like a wound" with a simile. Next, by using
a metaphor, he describes the fate of the adulterous sinners and their punishment as being battered
eternally by the winds and storms of hell, as they were figuratively battered by the winds of passion
in their lives on earth. He describes with a simile how "as cranes go over sounding their harsh cry, /
leaving the long streak of their flight in air, / so come spirits, wailing as they fly" (v 46–48). Finally,
he makes use of another simile to iterate how after Francesca tells of her tale of love, Dante faints
and falls, "as a corpse might fall, to the dead floor of hell" (v 140).
IMAGERY This canto begins to delve into the more sublime, dark, and mysterious. Words like,
"moaning," "screeching," and "lamenting" give this canto a sad and depressed feeling. Spatially, I
can imagine a dark, black whole type of place that seems like a vacuum. A lot of the words refer to
dark colors and describe the

Lust And Flattery In Dante's Inferno By Dante Alighieri
The epic poem, Inferno was written in the 14th century by Dante Alighieri, it follows Dante the
Pilgrim as he descends the 9 Circles of Hell. Along with his aid Virgil, Dante witnesses the different
sins and punishments of each circle, each more gruesome than the last. Dante, the Pilgrim, is able to
see many sinners from these circles and hear their stories, he also learns about the many monstrous
dangers in Hell. Dante Alighieri, an Italian poet, wrote Inferno after he had been banished from his
hometown of Florence. Because of the time period and the fact that he had been exiled, Dantes
views on such sins as lust and flattery were biased. Two sinners that exemplify the development of
Lust and Flattery are Alexander Hamilton and Anne Boleyn. Throughout time, sins such as Lust and
Flattery have stayed the same because of the human need to blame others for their actions and the
want for power.
The behavior of Lust across time has stayed the same because humans are mainly unable to take
responsibility for their actions. Lust is a passionate or overmastering desire or craving, usually in a
sexual sense. Dante views those who lust as "carnal sinners [that] are condemned": (Alighieri V, 38).
Alighieri was religious; therefore his views on adultery were very strict and unforgiving. While in
Circle 2: Lust Dante meets Francesca, a noblewoman who had an affair with her husband's brother,
Paolo, "all trembling, kiss'd me on my mouth. A Galeotto was the book and he that wrote it. That
day we read in it no further" (Alighieri V, 137–138). Francesca describes her affair in detail with
Dante and virgil, and instead of taking responsibility, Francesca blames her affair on a book about
Lancelot. Similar to Francesca, Alexander Hamilton, also did not take responsibility for his affair.
Hamilton, the first treasury secretary of the United States, engaged in a torrid affair that he claims
was because of his gender and social status in life. "How then can I, with pretensions every way
inferior expect to escape?" (Hamilton). Hamilton does not take responsibility, and he doesn't seem to
be remorseful about the affair. He blames the fact he was adulterous on his male nature. Hamilton
believes that he had no choice in the

The Between Sin And Purity
The organization of Inferno is categorized by the escalation of crimes, from failure of the will, to
transgressions of the mind; better described as the uncontrollable versus the sins you knowingly
commit. Canto V of Inferno is the most memorable, and erotic, Canto throughout the Divine
Comedy. In this Canto, the reader witnesses the integration of sin with purity, symbolizing the
duality of human nature. The allegorizations represent a duality in mankind's freedom of choice; the
choice to live a pure life or to commit sin. According to Dante a soul has the ability to intellectually
reason. This ability means that each human is responsible for their own actions and choices as they
might reason to control their natural appetites that lead to a sinful existence. The starving of one's
lustful appetite is connected to the ritualistic fasting, Lent, that Christians undertake in order to
absolve themselves of sin and thus seek a closer intimacy with God. There is heavy symbolism in
Dante's portrayal of Paolo and Francesca which reveals the dichotomy between sin and purity that
exists in Canto V. Imagery plays a crucial role when it comes to seeing the duality of the second
circle. The laws of contrapasso creates a parallel of crimes one committed in life to match the nature
of punishment found in death. The atmosphere of the second circle is designed to be the punishment
for those who choose their emotion over reason. Like how these sinners acted on lust, renouncing
the reason

Comparative Essay of Goold and Polanski Macbeth Films
Macbeth, like any play, is open to interpretation by the performers. Each separate performance is
unique. The different stylistic choices made in performances of the play change the way that viewers
see the characters and events. This means that while the events of the Goold and Polanski films are
the same, they tell us slightly different stories. It is interesting to look at the two films in terms of
their faithfulness to, and their divergences from the original text, and the effects that these choices
have on their viewers.
The first clear point of interpretation is the setting of the play. Polanski chose to remain true to the
play's original setting, in 11th century Scotland. The costumes, behavior of the characters, and sets
depict ... Show more content on Helpwriting.net ...
In the Polanski film, Macbeth himself is the determined, ambitious driving force behind the events
that take place, with Lady Macbeth there mainly to support him.
The depictions of the witches were also quite dissimilar. Polanski's depiction of the witches as
hideous crones is true to Elizabethan society's idea of them, and therefore very similar to how they
would have appeared in performances during Shakespeare's time. To a modern audience, however,
warty, cackling witches are borderline ridiculous. Goold chose to modernize the witches as much as
he did the rest of the play, and have the witches be disguised as nurses, which allowed them to
plausibly be near the other characters, and allowed him to combine a couple of scenes into one.
Goold clearly made an effort for his witches to be genuinely alarming for even a modern, horror–
movie accustomed audience, and succeeded. The alien nature of the witches was made clear by both
films.
As a play, Macbeth is intended to be interpreted differently by different directors, which allows each
performance to be unique. Polanski used the play's original setting, while Goold placed the story in
the 20th century. The cast of the Goold film stayed closer to how the characters were written by
Shakespeare, while Polanski's cast portayed the main characters slightly differently, with more
emphasis given to Macbeth than Lady Macbeth. Polanski's witches were

Analysis Of The Book ' Count Ugolino '
Count Ugolino
In the first round of the ninth circle of the Inferno, Virgil and Dante see two spirits pent in the ice;
one spirit chews on the head of the other sinner. Dante questions the chewing sinner, and with this
the soul lifts his from the other soul's devoured head, and begins to tell his story (Inf). He introduces
himself as Count Ugolino, a nobleman of Pisa, and tells Dante that the other sinner, whom he was
gnawing on, is Archbishop Ruggieri. Through a deceitful deception, the Archbishop put Ugolino and
his suns in a tower, where they received only a small amount of light each day from a small lancid
window in the wall. One day, when Ugolino and his sons were usually brought their food, they
heard the door of the tower being ... Show more content on Helpwriting.net ...
Ugolino uses his story's version as an act of revenge upon the bishop, whom he burns in Hell
eternally with revulsion (Franke 31). Dante the Poet shares this story to allow the reader to feel
immense sympathy and to stimulate the reader's hatred of Ugolino's tyrant; the suffering father in
the story forgets his fate within his agony that he can do nothing for his children or himself. In
addition, this suffering was an injustice, which gives the poet the right to be against Pisa (Yate 93).
Ugolino's story has been constantly paired with Paolo and Francesca's story; both stories arouse
deep emotion in anguish, but contrast in Dante the Pilgrim's reactions and responses to both sinners.
Through these stories, Dante indicates human love and human sorrow break through in the Inferno
(Yate 95). Ugolino is the father of sorrows that are easy to weep for. As a man of rank as a Count, he
is oppressed by a priest, and with this Ugolino becomes an emotional and liberty–loving English
lord (Yate 99). However, Ugolino is filled with rage, which persuades him to gnaw at his oppressor's
skull. Dante seems to use this episode as a narrative of revenge, exposing Dante the Poet's weakness
in his god–like personality. He thereby produces a narrative of the damning of sin in expressing his
own anger (Franke 27). Between the two haters, they share absolutely no pity, as there was towards
Francesca and her lover. Ugolino and Ruggieri rage with

Hells Influence In Dante's Inferno
Hell's Influence
(An analysis of whether or not hell is a legitimate propaedeutic for moral behavior through the study
of Dante's Inferno)
Go to Hell... a phrase we hear often. From the time we are young, the pastors and preachers of the
various churches we attend dictate our behavior by threatening us. They tell us continually that if we
don't follow the commandments of God at all times and in all places, we are going to go to Hell. The
only way to avoid it is to repent of all of our sins and never repeat those sins again. Dante Alighieri
was one of the first people to explore the punishments that are given in Hell. After he was exiled
from Florence, Dante used the time to write his Divine Comedy. This poem is separated into three
different ... Show more content on Helpwriting.net ...
In the second circle the lustful are punished by losing control as they are swept into an intense wind.
The fifth circle punished the wrathful as the attack and eat each other. Both of these punishments are
terrifying and a legitimate propaedeutic for moral behavior because they are both sins that seem
insignificant, but still have horrible and aggressive punishments. The sixth circle holds the heretics
entombed in fire, also a legitimate propaedeutic for moral behavior because it makes every request
and statement against God seem much more extreme as it could land them in this terrible circle of
Hell. Dante's ideas were accepted and even revered by the rest of the world when they realized just
how legitimate of a propaedeutic Inferno was for good moral behavior. As Susan Blow explains in
her analysis of Dante's Inferno, "His poem is not individual but universal; he utters not his own
thought, but the unformulated creed of Christendom." (Blow) Christians obviously loved Dante's
story and even began using it and the ideas shown in it to terrify all the people in the

Art and Math: Golden Ratio and the De Divina Proportione
Mathematics has always been very prominent in art since the beginning of time. Mathematical tools
such as the Golden Ratio and the De Divina Proportione have helped shape the art we know today.
Famous artists and mathematicians such as Piero De Francesca, Polykleitos, and M. C. Escher are
the founders of the amazing works of art we are familiar with. Even modern day mathematics has
given art a new form, with Fractal Art. Without math, some of the art we have today would not exist.
In the ancient times, the Golden Ratio was the most used mathematical tool. The Golden Ratio is a
term used to describe aesthetically pleasing proportioning within a piece. It is an actual ratio 1: PHI.
The Golden Ratio was a tool used for composition, not rule. It was often used by Leonardo Da Vinci
in several of his paintings. All key dimensions of the room and table in Da Vinci's "The Last
Supper" were based on the Golden Ratio, known as the Divine Proportion in the Renaissance. In
Michaelangelo's painting of "The Creation of Adam" the finger of God touches the finger of Adam
precisely on the golden ratio point of the width and height on the area that contains them both.
Botticelli compared "The Birth of Venus" with several different golden ratio points, all coming to
the woman's naval and bottom tip of her right elbow. The well known French painter, Georges Pierre
Seurat, was notorious for "attacking every canvas by the golden section." In one of his paintings, the
horizon falls exactly on

Theme Of Love In Attars Conference Of The Birds And...
Love is a central theme in both Attars Conference of the Birds and Dante's The Inferno. Whilst both
explore this theme in varying ways and take extremely contrasting routes, their final destination to
faith is achieved. The authors explore the divine through love and investigate the ways in which
passion and devotion are intertwined. In both texts, as the characters fall deeper into love, they fall
deeper into their faith. A spiritual journey led by passion is seen to be a constructive way to attain
one's closeness to God. Attars description of a spiritual journey towards God is at times opposing to
the path often associated with a religious experience, yet perfectly mimics his Suffi background. In
Suffism a belief widely held is that complete submission to love ends in the soul becoming one with
G–d and this is shown by Sheikh Sam'ans all consuming love for the Christian woman, which is not
a path away from God but a path towards him. Dante's the Inferno is based off a completely
contrasting belief system and culture, yet love seems to be the only guidance on his path through all
and towards faith. Love is the very essence of the Conference of the birds, from Sufism's core belief
that love is the path towards God, to the story posed in the text of Sheik Sam'ans journey of love
towards enlightenment. Love was the motivator for all of Sam'ans actions on his journey away from
Islam and towards 'the way'. Within the first introductory lines of the poem, love is mentioned
multiple times. It starts with 'Love thrives on inextinguishable pain' and finishes with a 'convulsion
of each heart' yet in Dante's The Inferno, this is not as blatant. The text is surrounded by fury and
anger, and many argue the existence of the text is a ploy to frighten and embitter people into
commitment towards Christianity. We move through every sphere of hell, each entailing a more
intense punishment, further embedding our faith to god out of the existence of fear. The notion of a
fear of hell to motivate faith seems to be a theme for the text and a way to motivate the masses into
believing in a Christian God. This seems to deter away from Attars optimistic tone and the
acceptance he offers to various faiths and paths towards finding

Different Perspectives In Dickens And Charles Dickens's...
If we want to make changes in our Lives, then we will have to look at the causes and the way we are
using our minds, the way we are thinking. For, "No two things can occupy the same space at the
same time. You can't have a positive thought & hold on to the negative one. Choose one." ~Louise
Hay. We all have the will and heart, the courage and braveness to let go of the past and to learn from
it, and not to dwell in it. So, after all how can something, be both positive and Negative at the same
time. Well in a very simple way of putting it, an event can be both positive and negative at the same
time. It all comes down on what perspective you are seeing the event from. For, different
perspectives can show us stories in a whole other way and in a whole new light. During the book
Tale of Two Cities written by Charles Dickens, you could see this view in many different ways.
First, you could see how Carton spend a lot of time criticizing himself and imagining that he would
never be able to change. This caused him to not even try and to just live life, in a sad state. Next,
sacrifice can be positive and it usually means to have new beginnings. On the other hand, you are
usually losing something dear to you, which hurts you for the rest of your life. That is why, no one
should dwell in the past, but learn from it and move on. Lastly, courage could be a positive and at
the same time a negative aspect. It all depends on our own personal perspective, or viewpoint.
"It was the best

Confessions : Confessions As The Pilgrim Travels Through...
It becomes clear that the use of confession in death is decisive factor to where in Hell one will end
up. Unlike in life, confessions in Hell are merely a formality to help decide where one best belongs,
since atonement is supposed to happen pre–death; therefore confession is now the evidence against
you when being judged. Therefore, once in Hell there is no possibility to ascend since one didn 't
take the opportunity in life to confess. Confessions in life show a yearning to change, a confession
in death is meaningless, as you cannot better yourself once you're no longer alive. Within all the
circles of hell, the reader witnesses all forms of confession, however the confessors never seems to
be able to admit that they are the cause for ... Show more content on Helpwriting.net ...
Inferno 5:7
Minos' role as judge is interesting; he plays the judge and the jury, leaving little room for pity for the
condemned souls; "they tell, they hear, and then are hurled down"(Inferno 5:15), bringing about a
warped sense of justice. Justice in Inferno is based upon the confessions of the sinners, diverting
from the normative use of confessions, which is to repent and grow from one's mistakes. However,
as the reader witnesses throughout Inferno, even with confession sinners aren't fully admitting to the
wrongs they've done in life. Those entrapped in the different circles are continuously deflecting the
blame of the sin they've done, being forever blameless of their life actions; making them sinners in
death, just as much so as they were in life. Deflection is best portrayed in Dante's interaction with
Francesca. Francesca's skillful poetics sprouts pity within Dante; who describes her as a gentle and
kind spirit, whose "torments make [him] weep for grief and pity"(5:117). He is captivated and
moved by Francesca's confession, convinced that the only thing that Francesca and Paolo are guilty
of is their love, which lead to their demise, damning them to Hell. The story brought out the longing
Francesca and Paolo had for one another, allowing Francesca to

Adaptation Of Lady Macbeth
In his Macbeth adaptation (1971) Roman Polanski's makes various intriguing and meaningful
decisions to underscore the subjects of aspiration, culpability, and the corruption related to
supremacy. From his unprecedented position, the most fascinating decision was the choice to give
Francesca Annis the role of Lady Macbeth. Customarily, Lady Macbeth is a more established figure
in the story, and her control over Macbeth is that of a solid willed spouse. Be that as it may, by
making a 26–year old physically alluring woman perform Lady Macbeth, Polanski is able to affect
Lady Macbeth and her maneuvers with an extra layer of enticement. This can be analytical, in light
of the fact that while the underlying motivation for Macbeth's conquest is surely given by the ...
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His aspiration is mainly to satisfy her and fulfill his maximum capacity in her eyes. Besides, in this
renowned, "Out, damned spot" sleepwalking scene where Lady Macbeth can not clean her hands
from nonexistent blood, Polanski has Francesca Annis play the scene completely naked. This gives
weakness and impotence to Lady Macbeth, a truly appalling sight given the past manifestations of
her mettle. Here, we see this solid, attractive woman lose countenance before our eyes, and our
sentiments for her turn to pity.
Her nakedness, effectively represents the stripping away of her act. Obviously, her prayers to the
spirits were not fulfilled, as she is troubled by sentiments of regret. The scene is brimming with
incongruity as she has experienced a complete inversion of her previous, false self. Rather than
longing for darkness, she now has light by her "continually". While she derided at Macbeth's terror
of the blood he had on his hands, saying "a little water" was all that was required, she is presently
compulsively cleaning her hands, visualizing they are deeply embedded with blood: "here's the
smell of the blood

St. Augustine 's Confessions And Dante 's Inferno
In St. Augustine's Confessions and Dante's Inferno, the central characters in their respective
narratives are presented a message from which induces distinct reactions. More importantly, their
reactions are reflections of their perspective concerning the Christian outlook towards life and
passion.
In Book VIII.xi (29) the reader finds St. Augustine in a state of despair and anguish because of his
ongoing internal struggle between his mind and body. Afterwards, he undergoes a surreal experience
that ultimately leads to the climax of Confessions, his conversion to Christianity.
The catalyst for his conversion rests upon none other than "a boy or a girl" who might be chanting,
per St. Augustine, "some sort of children's game"(152). The ... Show more content on
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St. Augustine may be referencing the contrast of his experience to that of Noah's by mentioning
"flood". While Noah immediately obeyed the given detailed instructions, St. Augustine is given four
words, yet he delays action as he reflects on the example of Antony, the "father" of all monks, for
guidance. Even though he delays taking action, the mention of the adverb "solely" suggest that St.
Augustine does take the choice to perceive, with no reserves, the message as divine. He could have
merely attributed the command as the nursery rhyme, but he did not. Instead, he shows faith and
belief that Noah would not have to demonstrate as the latter directly hears the voice of God.
After he reads Romans 13:13–14, St. Augustine "neither wished nor needed to read further...All the
shadows of doubt were dispelled." The conclusion is a four–lined passage which serves as the
conclusion of this intense and surreal experience. Once St. Augustine finally converts, the
complexities of his troubles seemingly dissipate. The reader is left with the understanding that all of
St. Augustine's troubles ("the shadows of doubt") could have easily been resolved had he been more
simple–minded by having had faith ("the light of relief") earlier in his life. In Dante's Inferno, the
reader witnesses Dante undergo his journey through the nine circles

Bartocelli Art Analysis
The characters above are all of mythological ideas, some possessing some biblical traits such as
Venus with the halo created by the reflection of the orange grove.
The red lines drawn on the image show the commonly used technique of perspective leading to the
vanishing point which is the centre of the image. This is where Venus stands, which is a technical
element conveying her importance within the painting.
The impeccable attention and detail on Flora's face indicates that he was of the High Renaissance
movement.
Bartocelli used Egg tempera to create this painting. He has connected the colours of the paint with
the message behind each part and being of the image. With the use of egg tempera, he had to work
fast aw well as with this technique there must be an under colour and the darker colour over it. The
under colour will therefore shine through, giving a stronger and clear final product.
Symbols in the artwork include: o Fruit– This including the orange which is the fruit of free will.
There are no oranges only after the incident of Zephyr and Chloris, showing after trials will there
only be fertilisation and produce o Colour– The use or oranges and Red indicates the long for
materialism, indulgence, carnal desire and a desire for worldly goods.
Multiple Choice Answers 1. A
2. D
3. C
4. C
5. D
6. B
7. A
8. B
9. C
10. A
Question two (Naming Paintings)
A. "The Last Supper", Leonardo da Vinci
B. "The Birth of Venus", Sornado Bartocelli
C. "The meeting of

The Discovery Of The Perspective’S Rules In Visual Arts
The discovery of the perspective's rules in visual arts is celebrated as one of the major turning points
in human history, which fueled centuries–long advancement and developments in both artistic
creations and scientific or engineering inventions as the foundation for many breakthroughs of the
modern times. It was the bridge between the middle ages and the early modern period or more
specifically the fifteenth century, during Italian Renaissance, when the law of perspective was first
introduced, explained, published and started to become widely adopted by generations of artists,
painters, artist–engineers and the like. Art historian and professor Samuel Edgerton, however,
reminds that the event should be rather noted as the rediscovery of ... Show more content on
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Still, how was he able to accomplish the task? Long story short, he proposed to construct two domes
inside one another during the contest for the dome's design in 1418 and later claimed that "he would
bind the walls with tension rings of stone, iron, and wood" to control the outward pressure called
"hoop stress" caused by the structures (Mueller 86). Moreover, Mueller notes that he invented
several lifting–machines and didn't use standard "ground–based scaffolding" for the dome's
construction, which made the process less costly and more efficient, giving him a great advantage
over others, plus no one surpassed the lifts he invented for centuries that followed (86–87). Back to
the discovery of perspective or particularly linear perspective in paintings, Brunelleschi actually
figured one–point perspective through an experiment he performed near the unfinished Cathedral on
which "11 years later, a huge dome from his designs would be raised," by using a mirror reflection
of a painting of the Florentine baptistry he drew, which was seen through a hole made on the
painting (Edgerton 124–125). Professor Edgerton argues his mirror demonstration of geometrical
nature of pictorial space had implications that extended "to the entire future of Western art and to
science and technology from Copernicus to Einstein" (4). The two event is different in a

Dante 's Journey Through Hell, Purgatory, And Heaven
Around 1314, Dante Alighieri completed the Inferno, the first section of what would make up The
Divine Comedy, a collection of three poems reflecting Dante's imaginative journey through Hell,
Purgatory, and Heaven. In these poems, Dante the poet describes the pilgrimage that Dante the
pilgrim must complete to attain salvation. With the Roman poet Virgil as his guide, Dante the
pilgrim must purge himself of his own sinful nature, which can only be achieved by observing and
learning from those that have landed themselves in either Hell, Purgatory, or Heaven. Described in
Inferno, his excursion begins in Hell where Dante learns about the stories and the sufferings of many
sinners. As Dante the pilgrim progresses through Hell it is clear that he assumes different personas.
In some instances, Dante the pilgrim is portrayed as an empathetic man who pities the sinners while
on other occasions, Dante the pilgrim is portrayed as a callous and indignant being in regard to the
sinners. While Dante the pilgrim is depicted in these two completely different ways, it is the
insensitive portrayal that more precisely depicts Dante the pilgrim, as that is his true identity when
he leaves Hell. His journey affected him so greatly that by the end of his pilgrimage, Dante the
pilgrim has transformed from a compassionate man into an impervious and even cruel individual.
When Dante enters the second circle of Hell, where the licentious sinners suffer, Dante meets a
woman named Francesca and

On Self Respect By Joan Didion
Writer Joan Didion in her essay "On Self–Respect" describes the value of self–respect in regards to
her own perspective of what it means. Didion's purpose for this explanatory essay is to explain what
self–respect means and its purposes to the intended audience, women. Women are the intended
audience because when this essay was written in the 1960's, expectations of women were
developing in a way that was no longer related to their roles in society, but their actual character,
specifically physical characteristics and abilities. Didion chooses to write about self–respect toward
women because of a personal anecdote mentioned in the text, in which she receives a sudden
realization of what self–respect truly means and decides to share it with other struggling women in
the 60's. Didion uses the rhetorical devices of personal anecdotes, allusions, and repetition in her
essay often, which makes her essay overall strong by punctuating many different meanings of self–
respect. These rhetorical devices also give her audience an easier understanding of self–respect by
providing multiple perspectives and situations of self–respect, allowing the audience to make
personal connections with the text. In the beginning of Didion's essay, she provides a personal
anecdote that tells about her own experience of self–respect. She begins by stating how "innocence
ends when one is stripped of the delusion that one likes oneself", stripped away from a fake self–
respect for oneself (215). She then moves to the anecdote, which is a past experience of her not
being "elected to Phi Beta Kappa", the oldest honor society in the United States (215). She talks
about how this specific "failure could have been more predictable or less ambiguous" because she
simply did not have the grades, but she was oblivious to the outcome due to having a "fake" self–
respect by expecting herself to qualify for the society at high expectations with abysmal grades.
Didion uses this anecdote to provide a basis of her credibility and understanding of the subject of
self–respect through a personal experience. This anecdote reveals a meaning of what fake and true
self–respect is in her personal life, allowing the audience a chance to relate to Didion's

Dante's Inferno How the Punishment Fits the Crime
To merely say that Dante was interested in the world of hell would be an understatement. His needs
to explore and write about the nine different realms could best be described as an obsession. It's an
adventure, a tale, a dream (or nightmare) of different historical, biblical, and Greek gods and
creatures living their lives in the afterlife of the underground world. Each level has its own form of
punishment fitting the crime one has committed.
Level one, Limbo: for those who have not acted upon sin to be punished for, but rather didn't accept
Christ as their savior. Those in Limbo aren't harmed or living in suffering. They live in a deficient
form of heaven. The place is green and peaceful, but the people there are full of ... Show more
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Both sinners lived in anger and either with themselves or at others. The individuals that expressed
their anger are there fighting each other, ripping at each other's skin. The gloomy, yet mad live
beneath the river, forever indebted to sadness. Because the sullen have lived their lives being in
constant anger with themselves, they continue to live so in that exact manner. Circles six through
nine are those who have committed a more serious, heinous crime than those in one through five.
"For Dante, the most serious crimes are those of betrayal." (Pg 788, Chevigny) Circle six is the
introductory of lower levels. The theme of this level is heresy. Those who have questioned or
attempted to stray from church reside here. The people of level six are in tombs that are on fire. This
is a slight preview of the hell we think of today. To question the Christian faith and to knowingly
and openly think that there is no afterlife, but instead believe that the soul dies with the body is the
best to describe their punishment. People become aware of a heaven or hell the moment they die.
And once that hit that moment, it's too late to decide whether or not there is such existence. For that
reason, they are forever stuck in their tombs (or modern day caskets) and live in constant sensation
of being burned. There are three rings in circle seven determined by the type of violence they've
committed. The outer ring is reserved for the

The Crossroad Of Christian Sin Versus Moral Vice
The Crossroad of Christian Sin Versus Moral Vice One is not wicked solely on the basis that they
perform wicked acts, just as one who sins is not always a sinner. Sin covers a wide range of
behaviors; but if these behaviors become habits are they still sins? Augustine seemed to believe that
sins, whether small or large, are committed when man turns away from God. Similar to sin, Aristotle
frequented the discussion on vice, a state of excess or deficiency, with virtue being the middle
ground. As he said, "We assume, then, that virtue is the sort of state that does the best actions
concerning pleasures and pains, and that vice is the contrary state" (Irwin, p. 21, lines 28–29). He
taught moral vice as different from vice, and having a direct correlation with incontinence. A type of
incontinence is the exorbitant desire for bodily pleasures, such as sex. This form of incontinence is
explored by Dante in Inferno and Purgatorio, Chaucer in Canterbury Tales, and Augustine in his
Confessions in the form of lust, a topic that will be later expanded on. Incontinence is a lack of self–
control, something man either has a predisposing for or not; to be incontinent is not a choice. This is
where the disparity and intersection between moral vice and the Christian sin present themselves.
Through the works and teachings of Aristotle, Plato, Augustine, Dante Alighieri, and Geoffrey
Chaucer the definitions and acts of both Christian sin and moral vice are explored in an attempt to

The Classic Inferno By Dante Alighieri
The classic Inferno by Dante Alighieri is beautifully woven to reflect the realities or unrealities of
the time. The various circles of hell are used by the writer to tell the tale in a free–flowing manner
(Havely, 98). Interesting, however, is the manner in which he describes the characters such that they
are seen to be facing tragedies in their life in hell. The writer categorizes the different types of sins
that people can commit and subjects the characters to various punishments, each of which is in a
separate circle in hell. Lawall opines that the writer uses a style that makes the reader envision
themselves in the poem (Lawall, 17). In so doing, the writer subjects the characters to relatively
tragic states even though they ... Show more content on Helpwriting.net ...
The story narrates that Francesca and Paolo are both punished in hell for their adultery and thus the
subjection to the circle of lust (Alighieri, 1012). She expounds that she had been married to Paolo's
brother Gianciotto. Francesca discloses that she was not shy of expressing her feelings towards
Paolo, who she loved even though she was married to his brother. One day, she reveals, her husband
caught them together inside her bedroom and was sure that they were lovers. Francesca opened the
door and pretended that all was well before her husband. Unknown to Francesca, Paolo had got
stuck in a ladder as he attempted to run away. Gianciotto then killed the two of them, although he
had not intended to kill his wife. The circumstance that led to her death is an emphasis of the beauty
of love. When Gianciotto jumped to slay Paolo with his sword, Francesca rushed in between and
faced the death first. The husband was too disappointed and ended up killing Paolo as well. The
portrayal of the two characters as lovebirds and the lack of love between Francesca and her husband
show the reality that was then (Alighieri, 1013). The writer further says, through Francesca, that
Gianciotto was thrown into the circle of Caina for killing his family members. This assertion, in
character is a balanced move to portray both parties (Francesca and Gianciotto) as losers in the fight.
However, the fact that

Divine Comedy In The Inferno
The divine comedy is a product of medieval literature, it has strong theology and is religious. In a
sense, the divine comedy is a symbolic story. The author Dante experienced Hell, Purgatory, and
finally, Heaven, to meet God. "Before me, there was nothing created except the eternal ones, and I
endure eternally. Abandon all hope, you who enter (C3, 7–9)." Dante reads the lettering at the gates
of hell. Inside the Inferno, Dante wrote every sin down, including gluttony, lust, violence, heresy,
blasphemy, and fraudulent, etc. each layer of Hell was like an execution ground, and the souls were
suffering in mentally and physically in commitment to the faults they are condemned with after
leaving the world. However, Hell is not only for accusing or full of ... Show more content on
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The Neutrals were punished to creep and self–reflect. "This wretched measure was kept by the
miserable souls who lived without infamy and praise. They are mixed with that cowardly chorus of
angels who were not rebels yet were unfaithful to God, but were selfish (C3, 37–39)." People are
just like these angles. Being Neutral seemed like an unforgivable sin, people could do anything to
protect themselves. Hell reveals what the society is. The souls here are condemned not only for their
selfish motivation but also for their action to others.
In the second circle of the hell, Dante and Virgil soon saw the monster Minos, who stood before an
endless line of sinners. Before Minos sent down the souls in their respective circle, sinners must
confess their sins first, then Minos wraps his tail around the sinner a number of times indicating the
circle number the soul must go. Hell is a place where God's justice is observed. Those souls in hell
are never defined. Every sinner clearly knows why they are in hell, and the circle they should go to.
Therefore, I went into the circle of lustful

The Bond of Communion: An Analysis of the Communal Bonds...
The Bond of Communion:
An Analysis of the Communal bonds throughout Dante Alighieri's The Inferno
Human beings are odd creatures, possessing abilities no other living species have. These abilities
being Intelligence, Reason, and Free Will. These attributes allow human beings to value and destroy
whatever they deem necessary to them. One of the most valuable things to a human being is the
communal bond. This bond comes in many shapes and forms and is ultimately a form of love, and is
usually a connection we share with others and with God. The communal bond works like a
relationship, in which the persons involved are expected to and obey the instructions specified. This
bond is a weak love, one that is easily influenced and most likely to ... Show more content on
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Dante's use of symbolism is most evident in this passage, where light is a symbol for reason and
love. The fact that the second circle is void of these two attributes amplifies that the Lustful abandon
their reason and love in order to pursue and satisfy their physical body. Dante having successfully
established the setting moves on to establish his concept of Contrapasso. Dante describes "[the]
hellish flight [of the sinners] / of storm and counter storm...sweep[ing] the souls of the damned
before its change. / Whirling and battering... / their shrieks begin anew." (5.29–35) The punishment
of the Lustful and Carnal is the inability to control their actions in Hell. They are forever controlled
by the winds of Hell, this is due to their inability to control their earthly passions in life. Another
punishment the Lustful face are the inability to be with their loved one, in Hell they can see and
speak to their loved one but are forever denied the right to touch their lover, causing them suffering
and anguish. The readers sympathize with the sinners and Dante himself pities the lustful in this
circle. Dante structures his Inferno in circles, with the higher circles being composed of lesser sins
and the lowest circles being the gravest sins. Dante structures the circles wisely in order to stress the
belief of the importance of community. The higher circles of Hell contain the sinners who sought
unity and community,

The Contributions Of Death In Dante's Inferno
In the Inferno, Dante journeys along the path that will eventually lead him to God by first passing
through Hell. As he goes through his journey in Hell with Virgil, Dante encounters several sinners
who are being punished based upon the sins each individual committed. Dante's attitude towards the
sinners' punishment changes from sympathy to hostility as he goes through his path towards God. At
first, Dante is to feeling sympathy for the souls that reside in the Second Circle of Hell, whose
punishment is to be constantly blown by wind. These sinners are punished specifically for lust.
Many individual souls are named by Virgil, but Dante starts to show signs of sympathy when
Francesca voluntarily steps forward to explain her love story with ... Show more content on
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I agree with Poggiolo's statement involving sympathy for Francesca because this means that even
though Dante feels sympathy for both Francesca and Paolo, it does not erase the fact that they did
commit the sin of adultery. Dante can feel sorry for their situation, but there is no way he can forgive
them of the sin they committed. God did put them there so no matter how much pity Dante feels for
them there is nothing he could do about their punishment in Hell. As Dante travel deeper along Hell,
he needs to become stronger to complete his journey. In the beginning of his journey, he encounters
sinners who did not commit a sin as bad as the sinners in the Ninth Circle of Hell. That is why he
feels sympathetic to Francesca and Paolo, who is in the Second Circle of Hell. Now that he is at the
last Circle of Hell, he needs to be fiercer and stronger to get through his journey. Virgil says to
Dante that "Thy soul attained is with cowardice, / Which many times a man encumbers so, / it turns
him back from honored enterprise" (Canto II, 45–46). Virgil is helping Dante become more
courageous in his journey, which leads him to become hostile. Dante arrives in the Ninth Circle of
Hell which is known to harbor traitors. The punishment for theses traitors is to be frozen in a lake to
represent the coldness of their hearts and how they do not have any feelings of remorse for betraying
others and their own families. The traitors being frozen and

Dante's Inferno Irony Analysis
Dante Alighieri, as you know, was a religious Italian poet during the late middle ages who wrote on
of the most famous poems of all time: Dante's The Inferno. In The Inferno, like many of Dante's
other poems, he uses an array of literary devices that give his poems more depth and make a specific
point to the reader. One of the many literary devices that Dante utilizes throughout the Inferno is
irony. Dante uses irony in two ways in the Inferno; first to illustrate to readers that what you do in
life comes full circle and haunts you in hell. The second way Dante uses irony in this poem is in
specific characters Dante encounters in hell to add some comedy to the poem. Both forms of irony,
however, serve the purpose of touching the reader and ... Show more content on Helpwriting.net ...
This usage of irony is used in certain characters in hell and it often has to do with why they are in
hell. Furthermore, the irony is portrayed in the stories that the sinners tell Dante about how they
wound up in hell. One example from the poem that shows this irony come from canto V where
Dante and Virgil talk to Francesca and Paolo who tell them their story about how they wound up in
hell. Dante recounts their story, "On a day for dalliance we read the rhyme of Lancelot, how love
had mastered him. We were alone with innocence and dim time. Pause after pause that high old
story drew our eyes together while we blushed and paled; but it was one soft passage overthrew our
caution and our hearts. For when we read how her fond smile was kissed by such a lover, he who is
one with me alive and dead breathed on my lips the tremor of his kiss. That book, and he who wrote
it, was a pander. That day we read no further."(Dante 39–40). In this passage, Dante recounts the
story of how Francesca and Paolo (Francesca's brother–in–law) read a book and fall in love. Shortly
thereafter, both of them are killed by the husband and they end up in hell. In Christine Perkell's,
Irony in the Underworlds of Dante and Virgil: Readings of Francesca and Palinurus Author(s):
Christine Perkell, Perkell exclaims, " To summarize: As Francesca tells her story, she inadvertently –
ironically – reveals thè justice of God's judgment in placing her in Inferno. She fails to confess; she
fails to take responsibility as a moral Christian agent; she fails to see herself or her sin as God sees
her and it." Perkell sees the irony in Francesca's story just as Dante intended it to be. What is ironic
about Francesca's story is that while she tries to make Dante feel pity for her, she reveals to Dante
the truth as to why she is in hell and the

The Divine Comedy In Dante's Inferno
The concept of this research paper is to focus on the importance of we have learned in World
Literature. In each assignment that was readed we looked into the literary works to analyze what
was readed and to gain a better understanding of the assignment. One of the readings that appeal the
most is Dante's Inferno also known as the Divine Comedy. Dante's Inferno was a comedy that began
in 1308 and ended in1320 written by Dantes Alighieri. It is a long epic poem broken into three
separate sections: Hell, Purgatory, and Heaven. Dante uses these elements to explore the descent of
a man entering many different journies throughout hell and he also demostrates hell through the eyes
of a devoted Christian. This leaves reader left to wonder the extent of hhow much the Dante's
Inferno is an accurate representation of Dante's belief in Christianity and his definition of comedy.
Upon reaching the gates of hell, Dante is introduced into the first two realms of the afterlife, inferno,
and paradise. Within that level is the first circle of hell called the Limbo. Many individuals that were
sent to this circle of hell, "did not sin, and yet, though they have merits,/that's not enough, because
they lacked baptism,/ the portal of the faith that you embrace./And if they lived before Christianity/
they did not worshxip God in filling ways" (Cantos 4, lines 34–39). Dante made it very clear that
any individual in the level of Limbo would only reach heaven if they gave their complete devotion

The Divine Comedy By Dante Alighieri Essay
Dante Alighieri is known as one of the greatest Italian poets. One of Alighieri's most famous works
of art would be his poem called the Divine Comedy written in year 1320. The poem itself has a
heavy Christian influence and it entails the journey of Dante, the protagonist as he travels through
hell, purgatory and finally paradise. Additionally, the poem captures Dante's journey as he gets
closer to god. As Dante first enters Inferno, (also known as hell), he meets Virgil, who is not only his
mentor and guide throughout Dante's journey but Virgil is also known as one of the greatest poets of
all time. On this journey in hell with Virgil, Dante comes across many souls who have committed
sins in their life but even then, Dante enables them to speak and share their stories. The Inferno is a
part of the Divine Comedy in which the reader meets multiple sinners, such as Francesca, Paolo,
Ugolino and Pope Nicholas III who receive the chance to reiterate their story to Dante, and become
fortunate enough that Dante decides to include their story in his poem, giving them the prospect of
becoming immortal.
When I began reading the Divine Comedy I realized that Dante truly takes the time to hear what the
souls want to say regarding their punishment in hell. As I read further on into purgatory, I observed
that only in hell, Dante continuously emphasizes on people sharing their stories with him in each
canto. Essentially there is a repeating pattern in the inferno regarding gaining

Dante 's Inferno, By Dante The Pilgrim
Dante, Inferno Throughout the epic poem Inferno, Dante the Pilgrim travels in the different circles
of Hell told by Dante the Poet. The story examines what a righteous life is by showing us examples
of sinful lives. Dante is accompanied by his guide Virgil, who takes him on a journey to examine sin
and the effects it has in has in the afterlife to different sinners. Through the stories of Francesca and
Paolo, Brunetto Latini, Ulysses and Guido da Montefeltro, we are able to understand that people are
self–interested in the way they act and present themselves to others and that those in Hell are there
because they have sinned and failed to repent their sins and moral failings. The story of Brunetto
Latini teacher us to use the gifts we ... Show more content on Helpwriting.net ...
Francesca was married to Paolo's brother and one day while Francesca and Paolo were reading the
story of Lancelot and Guinevere, and when they got to the romantic part of the story they confessed
to each other and kissed. Francesca's husband found out shortly after and had both of them killed.
Francesca's sin was not only adultery, but also failure to accept her own responsibility for her
actions. In the story of Lancelot is about the fall of Camelot and the consequence of adultery, which
shows that Francesca and Paolo knew what they were getting themselves into and that there would
be consequences. Francesca blamed Paolo for everything, as if she didn't have control over anything
that happened. This is shown when Francesca is explaining to Dante why she is in hell. "Love, that
excuses no one loved from loving, seized me so strongly with delight in him," (Dante, Inferno, V,
line 103–104). From this we can clearly see how she is completing blaming her actions solely on
love rather than standing up and taking responsibility for the actions she has committed. She said
that love held her down so strongly that it drew her to Paolo and that she had no way of escaping.
After hearing this, Dante becomes faint, for Francesca has seduced him, she disguised her sin with a
love story, making it sound like she had no fault at all. From the story

Responsibility to Others versus Individual Selfishness
The 20th century philosopher Emanuel Levinas, responding to the horrors of the Holocaust,
considers our ethical responsibility to other humans as follows: "The Ego loses its sovereign
coincidence with self, its identification where consciousness comes back triumphantly to itself to
reside in itself...The challenge to self is precisely reception of the absolutely other...[T]he Other hails
me and signifies to me...by its destitution, an order. Its presence is the summons to respond...To be
Me/Ego thenceforth signifies being unable to escape from responsibility." ("Signification and Sense"
32–33). What Levinas is trying to explain is an individual is a person, or human, by how others
perceive that individual, thus an individual is ethically responsible for others as well as others to the
individual or is otherwise a loss.
Throughout Dante's The Divine Comedy 1: Hell and Shakespeare's Macbeth, the idea of the
responsibility to others versus an individual's selfishness is a constant debate. In both Dante's The
Divine Comedy 1: Hell and Shakespeare's Macbeth, the responsibility to others is something that is
expected. In Dante's The Divine Comedy 1: Hell, Dante is guided through Hell and learns how
various sins are punished, the traitors being near the bottom. In Shakespeare's Macbeth, Macbeth is
told his destiny to become king, and then face internal conflicts of the various murders he performed
in order to achieve the power of being king. Dante's The Divine Comedy 1: Hell and

The Theme Of Lust In Canto V Of Dante's Inferno
As Dante, the pilgrim, makes his way through the second circle of hell in Canto V of Dante's
Inferno, he comes across the lustful. Lust is a very strong sexual desire. Having the desire to have
sex is not a sin, but it becomes sinful when the desire is defected. This means, if the sexual desire is
out of context such as desiring another married man or woman, it then becomes a sin. In Dante's
Inferno, Francesca da Rimini tells a story of her and Paolo Malatesta and how lust and adultery lead
to their deaths. For the first time in Hell, Dante feels pity for a soul and I believe he reacts this way
to her story because he puts himself in their shoes and feels their pain. Dante empathizes with
Francesca because this is now her eternal fate.
While making their way through, Dante asks Virgil to speak with the two doves who seem to be left
by themselves. They are Francesca and Paolo. Francesca beings to tell Dante why they are there in
Hell. Francesca, was married to Giovanni Malatesta when she and his brother, Paolo, were reading
Lancelot and shared a kiss because the words of the book set the mood. While kissing, her husband,
his brother, Giovanni walked in and killed the two. Before Francesca finishes the story, Dante begins
to cry because he is so sympathetic to the lovers.
"Then I turned to them again to speak and I begun: 'Francesca, your torments make me weep for
grief and pity, 'but tell me, in that season of sweet sighs, how and by what signs did Love acquaint
you with your hesitant desire?" (Canto 5.115–120). Dante expresses this to show how sorry for her
or for them he feels.
In another sense, I feel as Francesca kind of manipulates him in her language. The way Francesca
speaks in my opinion is someone of charismatic. She tells Dante the story in a way she never blames
herself, but she blames love and the book for her wrong–doings. For example, "Love, quick to
kindle in the gentle heart, seized this man with the fair form taken from me. The way of it afflicts
me still. 'Love, which absolves no one beloved from loving, seized me so strongly with his charm
that, as you see, it has not left me yet. 'Love brought us to one death." (Canto 5.100–106). Francesca
simply blames the adultery her and Paolo

Dante : A Dark World By Giving Details Of The Afterlife
Dante takes his readers to a dark world by giving details of the afterlife. He relates the characters to
the reader and shows the sins these characters committed. Along with a summary of Inferno,
Francesca and Paolo will be discussed. They both appear in Canto V, in the Second Circle of Hell
which is saved for the lustful. This sin stood out because it can be more related to most people–then
and now. According to the Bible, God states in 1 Peter 2: 11–12, "Dearly beloved, I beseech you as
strangers and pilgrims, abstain from fleshly lusts, which war against the soul... they speak against
you as evildoers... glorify God in the day of visitation." Whether Francesca and Paolo's sin is just or
not is ultimately God's decision. "Midway along the journey of our life/ I woke to find myself in a
dark wood, / for I had wandered off from the straight path" (1600). With these words, Dante opens
the narrative and brings the reader in to see the point of view that he is lost. Dante is trying to
connect with the reader that it is not just his life but the reader's life himself that has gotten off the
"straight path" and need to rediscover their own goal. He uses this connection time and time again
within the narrative as he travels into the underworld and into the realms of the afterlife. He writes
so the reader will have this connection to him and the feelings he is experiencing within this painful
yet joyful journey. As Dante is traveling through a dark wood, he loses his path

The Importance Of Perspective During The Renaissance Era
To understand the importance of perspective during the Renaissance era, one must understand the
importance of art during the Renaissance era. Art was associated with religion, but was also a way to
depict what is and what was. Perspective came to rise during the Italian Renaissance for a myriad of
reasons, but mainly in creating a sense of realism and allowing one to manipulate space.
The utilization of perspective allowed the viewers to have a more intimate relationship with items of
worship in a sacred setting. Many paintings were closely tied to sacred paintings as an item to assist
worship or to retell the narrative of the Bible. Moreover, the Renaissance was also a time of
fascination with realism, exampled by Vasari's praise of the bare torso in the Piero della Francesca
as perfection "as an anatomic study". Art is also complicated in that it "grounds its persuasiveness in
the "truth" of optical experience" (Pardo, Giotto and the Thing Not Seen). The addition of
perspective allows sacred paintings to appear three dimensional, adding a complexity to worshippers
as it seems as the bible narrative or the person of worship (Mary, Christ, etc.) is appearing out of the
painting directly to the worshipper. This interaction causes the viewer to feel more intimate in their
worship as they felt that they had a genuine, almost tangible, connection with the actual religious
figures. Perspective in practice is further shown with "the possibility that the use of perspective in

Power : A Search For Power In Dante And Dante
There are two types of power– spiritual and Earthly. Earthly power includes political power, wealth,
tangible items, and worldly desires. Spiritual power includes free will, religious alignment, and
spiritual desires. Many nouns define power, and power defines many nouns. Whatever the
circumstance, some form of power is always present.
Desire strikes a search for power. Dante writes "we live on in desire" implying that we live through
desire (20). Each one of us chases a desire during our journey through life. Small children desire
toys to entertain them, and the more toys a child has the more powerful they feel. I do not remember
the time when I was an infant, but from watching children and observing my cousins, I see this
feeling of power every day. Dante shows us a consequence of searching for power through desire
when we meet Francesca and Paulo, and he says "oh, how much desiring brought these two down
into this agony" (30). Sometimes the worldly desires we wish for do not end with what we expect.
Francesca did not think about what would happen to her or Paulo for following their passion. She
never expected to be thrown into Hell and be haunted by her desire for eternity. Dante has a desire
for love with Beatrice until she dies and Dante is left without the true flame in his heart. Dante
yearns for Beatrice every day and desires the love they once shared. Later on Dante's journey, the
love for Beatrice grows as Dante realizes she will be waiting to guide him once he

Francesca's Style in Canto V of Dante's Inferno Essay
Francesca's Style in Canto V of Dante's Inferno
Canto V of Dante's Inferno begins and ends with confession. The frightening image of Minos who
«confesses» the damned sinners and then hurls them down to their eternal punishment contrasts with
the almost familial image of Francesca and Dante, who confess to one another. In a real sense
confession seems to be defective or inadequate in Hell. The huddled masses who declare their sins
to Minos do so because they are compelled to declare or make manifest in speech the character of
their offenses and although they confess everything (each soul «tutta si confessa», v. 8) it is not an
admission of guilt prompted by true contrition or the timely desire to reform their lives. In Hell ...
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Dante structures the Commedia in such a way as to enable the pilgrim to function as a progressively
more sophisticated reader of confessional texts throughout his journey, and as such he becomes a
reflection of our own possibilities as interpreters of these canti. Our initial attempts at interpreting
the equivocal texts provided by the sinners are fitful, inadequate, and constantly in need of later
correction and reassessment, thus reflecting the pilgrim's own progress. In the reading and re–
reading, these confessional passages and canti define themselves as exercises in humility: as
understanding becomes the product of a series of misreadings and revisions of the text. In the case
of Francesca we have a confession that is more a literary rationale for her offense than an admission
of individual culpability, for Francesca seeks to use the language of dolce stil novo poetry as a kind
of cloaking device to hide herself as the historical agent or subject who bears responsibility for her

Use Of Allegory In Dante Inferno

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