Dante’s Inferno is an epic tale of a journey through Hell to find spiritually and peace whole. The beginning of the poem starts with how Dante is lost in sin, moving on to the ancient poet from Rome Virgil who appears to Dante as a spiritual guide. Virgil’s message to Dante is that the only way for him to alleviate the darkness within himself is to take a journey through Hell, this will be an aide to Dante in order to recognize the impact of his actions. During the trip, Dante witnesses the unfathomable punishment that happens to those that have been damned to hell, along with several faces that are familiar. The interactions that Dante has with several people have told him of the predictions they have had about him and what horrors lie ahead if he continues to follow the path that he has been on. Soon after several horrendous close calls and interactions Dante finally makes it to purgatory with Virgil.
Dante’s descent into Hell in Inferno, the first part of his Divine Comedy, tells of the author’s experiences in Hades as he is guided through the abyss by the Roman author, Virgil. The text is broken into cantos that coincide with the different circles and sub-circles of Hell that Dante and Virgil witness and experience. Inferno is heavily influenced by classic Greek and Roman texts and Dante makes references to a myriad of characters, myths, and legends that take place in Virgil’s Aeneid, Homer’s Iliad and Odyssey, and Ovid’s Metamorphoses. Some of the most important references, however, are the most obvious ones that are easily overlooked simply because of the fact that they are so blatant. Dante is being escorted through Hell by the
After emerging from the dark woods after Dante’s vision, Dante and Virgil find themselves at the gates of Hell, which were inscribed with “Abandon every hope, Ye that Enter.” ( This should be found in the second or third Canto of The Divine Comedy, at the place that Dante and Virgil are about to enter Hell). If it is not there, just leave the sentence and remove the brackets for the citation) Hell is a funnel shape pit that is divided into nine terraces. Virgil, Dante’s escort resides in the area known as Limbo. He is placed in this area because he died before Christianity. Nevertheless, Virgil is not subjected to Hell. Each terrace provides living space for individuals who were in Hell for the different categories of sin for which they were suffering. The lower the terrace, the more severe the punishment. Satan resides in the very bottom level of Hell. Dante gives a very vivid description of his first sight of Satan when he writes, “The emperor of the despondent kingdom so towered—from midchest—above the ice, that I match better with a giant’s height than giants match the measure of his arms; now you can gauge
Inferno, the first part of Divina Commedia, or the Divine Comedy, by Dante Alighieri, is the story of a man's journey through Hell and the observance of punishments incurred as a result of the committance of sin. In all cases the severity of the punishment, and the punishment itself, has a direct correlation to the sin committed. The punishments are fitting in that they are symbolic of the actual sin; in other words, "They got what they wanted." (Literature of the Western World, p.1409) According to Dante, Hell has two divisions: Upper Hell, devoted to those who perpetrated sins of incontinence, and Lower Hell, devoted to those who perpetrated sins of malice. The
Dante Alighieri, an Italian poet and writer of the 13th century, creates a fictional account of his visions of his journey through Hell. His background as a Catholic influences his life and his writings, including The Inferno. He uses the historical and political events of his lifetime to influence his writings as well. Dante is educated and very familiar with the history and literature of the classical world. In The Inferno, he expresses his admiration for Greco-Roman history, literature, mythology, and philosophy, but he also places limitations on the ability of the classical world to gain salvation as taught and believed in Christian doctrine.
The world in hell has a totally different set up in the book rather than the casual all in flame, red and hot place that the most common person might think or describe, but an elevator kind of feel, with different stages, settings and even ice on hell. Hell is set up in nine circles that each contain a strong meaning and also some very interesting cultural figures, each circle has a meaning from Limbo, lust, gluttony, greed, anger, heresy, violence, fraud and the worst of them all, treachery were Lucifer himself was placed. Each of these levels are Dante's vision of hell, and for each sin is the way he grades how bad the action was. Nevertheless, the feeling of true dislike in some these important figures such as Alexander the Great, Pope Anastasias, Helen of Troy and even a Centaurus which is a mythological creature are place in hell for those motives.
When you think of Hell, what do you see, perhaps a burning pit full of criminals and crazed souls? Or maybe you’re like Dante and have a well organized system of levels in correspondence with each person’s sins. In Dante Alighieri’s epic The Inferno, Dante and his real life hero, Virgil, go on an adventure through a rather elaborate version of Hell. In this version of Hell numerous thoughts and ideals are brought to the attention of the readers. Through Dante’s use of both imaginative and artistic concepts one can receive a great visual impression of how Dante truly views Hell, and by analyzing his religious and philosophical concepts the reader can connect with the work to better understand how rewarding this work was for the time period.
Dante is a poet who wrote an epic poem called The Divine Comedy. This epic poem is about Dante’s journey as he goes through 3 levels, which he calls Inferno, Purgatory and Paradise. In the Inferno, he meets Virgil, his guide throughout his voyage. They both pass through the nine circles of Hell, where they witness many different punishments for those who have done awful things in their past. Good versus evil is a major theme that occurred throughout Hell. In the Inferno, there are times where Dante sees good and evil and also represents it himself.
In Homer’s Odyssey (Book XII) and Virgil’s Aeneid (Book VI) the visit to the land of the dead occurs in the middle of the poem because in these centrally placed books the essential values of life are revealed. Dante, while adopting the convention, transforms the practice by beginning his journey with the visit to the land of the dead. He does this because his poem’s spiritual pattern is not classical but Christian: Dante’s journey to Hell represents the spiritual act of dying to the world, and hence it coincides with the season of Christ’s own death. (In this way, Dante’s method is similar to that of Milton in Paradise Lost, where the flamboyant but defective Lucifer and his fallen angels are presented first.) The Inferno represents a false start during which Dante, the character, must be disabused of harmful values that somehow prevent him from rising above his fallen world. Despite the regressive nature of the Inferno, Dante’s meetings with the roster of the damned are among the most memorable moments of the poem: the Neutrals, the virtuous pagans, Francesca da Rimini, Filipo Argenti, Farinata degli Uberti, Piero delle Vigne, Brunetto Latini, the simoniacal popes, Ulysses, and Ugolino impose themselves upon the reader’s imagination with tremendous
"Its shoulders glowed already with the sweet rays of that planet/ whose virtue leads men straight on every road,. (I 16-18) The Inferno is one-third of Dante Alighieri's Divine Comedy. This fictional poem is a narrative. In the poem Alighieri made his own character symbolic to the Human soul and his idol, Virgil, symbolic to human reason. Together they journey through the Nine Circles of hell. Dante is able to complete his journey through hell because Virgil helps him through.
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.
In the first canto of Dante’s inferno you can see how relevant hell is in society today. “Midway this way of life we’re bound upon, I wake to find myself in a dark wood(Dante, 1949, p71). Personally Dante is basically lost and unable to find the way back to the right road. People who become depressed or not quite sure of their place in life can be tormented, in a way this can represent how Dante is feeling. Often times people are required to face a journey to overcome any fears or dark thoughts that may be affecting their life. Self-discovery is not always fun or pleasant, sometimes it could be difficult for an individual to leave their demons in the past and move forward. “Back to that place wherein sun is mute”(Dante, 1949, p73). Dante had to go through the circles of hell and take on the numerous horrendous challenges so
Many protagonists in ancient Roman and Medieval works face some sort of dilemma that makes achieving their goal much more challenging. Works such as Virgil’s Roman epic poem, The Aeneid, and Dante Alighieri’s The Divine Comedy: Inferno of the medieval period in Europe demonstrates prime examples of the central characters’ difficulties. Both problems themselves differ greatly in the sense of the types of trials the character’s face and what their confrontations say about the priorities and values of each protagonist’s culture. Nevertheless, the characters still have valuable lessons to learn as they try to overcome their dilemmas.
In Dante’s Inferno, the relationship between Dante the Pilgrim and Virgil the Guide is an ever-evolving one. By analyzing the transformation of this relationship as the two sojourn through the circles of hell, one is able to learn more about the mindset of Dante the Poet. At the outset, Dante is clearly subservient to Virgil, whom he holds in high esteem for his literary genius. However, as the work progresses, Virgil facilitates Dante’s spiritual enlightenment, so that by the end, Dante has ascended to Virgil’s spiritual level and has in many respects surpassed him. In Dante’s journey with respect to Virgil, one can see
There are many similarities between Dante’s The Inferno and Virgil’s The Aeneid, be it their characterizations or descriptive imagery, but foremost in their ideas of what the afterlife consisted of. Each each epic hero in the works here have descended in to the depths of hell, with The Inferno depicting Dante’s descent into the depths of hell and with Virgil in Book VI of The Aeneid depicting Aeneas’s decent into hell. It can be argued that although different, the knowledge acquired by each character’s descent was equally important to accomplishing their greater tasks at the ends of their journey. Had their descent into hell been skipped their outcomes would have concluded in a different way because their voyages to Hell each played a crucial role in the advancing each narrative.