Dantes Inferno Essay

Dante's use of allegory in the Inferno greatly varies from Plato's "Allegory of the Cave" in purpose, symbolism, characters and mentors, and in attitude toward the world. An analysis of each of these elements in both allegories will provide an interesting comparison. Dante uses allegory to relate the sinner's punishment to his sin, while Plato uses allegory to discuss ignorance and knowledge. Dante's Inferno describes the descent through Hell from the upper level of the opportunists to the most evil, the treacherous, on the lowest level. His allegorical poem describes a hierarchy of evil.

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).

The Inferno is a tale of cautionary advice. In each circle, Dante the pilgrim speaks to one of the shades that reside there and the readers learn how and why the damned have become the damned. As Dante learns from the mistakes of the damned, so do the readers. And as Dante feels the impacts of human suffering, so do the readers. Virgil constantly encourages Dante the pilgrim to learn why the shades are in Hell and what were their transgressions while on Earth. This work’s purpose is to educate the reader. The work’s assertions on the nature of human suffering are mostly admonition, with each shade teaching Dante the pilgrim and by extension the reader not to make the same mistakes. Dante views his journey through hell as a learning experience and that is why he made it out alive.

What goes around comes around. When sinners reach hell they are forced to experience the counter-suffering of contrapasso. For each sin, Dante gives a specific punishment relating to that sin. Some of these sins include violence towards self, violence towards God, sorcery, and hypocrisy. For the despicable lives they lived on earth, they are doomed to suffer relating consequences for all of eternity.

Dante’s work Inferno is a vivid walkthrough the depths of hell and invokes much imagery, contemplation and feeling. Dante’s work beautifully constructs a full sensory depiction of hell and the souls he encounters along the journey. In many instances within the work the reader arrives at a crossroads for interpretation and discussion. Canto XI offers one such crux in which Dante asks the question of why there is a separation between the upper levels of hell and the lower levels of hell. By discussing the text, examining its implications and interpretations, conclusions can be drawn about why there is delineation between the upper and lower levels and the rationale behind the separation.

In Dante’s Inferno, the author Dante Alighieri described the journey of his fictionalized self going through Hell. Dante describes all nine circles as grisly and grave. Gustave Doré’s paintings relate the most to Dante’s descriptions. Doré’s paintings of the Inferno are dark and mysterious, which is how Dante explains Hell in his story. Doré does not use color in his paintings; all of his painting of the Inferno are black, white, and in some shade of grey. His paintings reflect the mood that Dante was trying to interpret in his story. This is why Dante would choose Gustave Doré to illustrate Inferno.

After crossing the Phlegethon, Dante the Pilgrim and Virgil cross into a dark forest where there are “no green leaves, but rather black in color, no smooth branches, but twisted and entangled, no fruit, but thorns of poison bloomed instead” (Dante, Inferno 186). The forest is depicted this way to give a picture of the barren nature of suicide. Dante sees the Harpies nesting and tearing at the trees surrounding them, “....in Greek mythology the Harpies are storm-winds which act as ministers of Divine vengeance, mysteriously snatching offenders away out of the visible world” (Dartmouth). The Harpies are a depiction of how those who commit suicide snatch themselves away from the visible world. He hears wails of torment within the woods all around him and Dante is confused by the noise and its origin. He first thinks that the yelling comes from individuals hiding behind the trees, but learns the truth once prompted by Virgil to break a branch. Dante tears off a piece of a “great thornbush.” The emphasis on the size of the bush may be a way to signify the importance of the man entrapped inside it, possibly like Medieval art in which artists stress the importance of a specific character by making it larger (Dartmouth). To Dante’s surprise, blood began to spew out of the branch, and the tree starts to speak directly to the Pilgrim. This tree, named Pier, committed suicide after being accused of treason. Pier continues to swear on “the new roots of this tree” that

Dante gives a picture perfect example of their torment. It was said that, “And as they scrubbed and clawed themselves, their nails / drew down the scabs the way a knife scrapes bream / or some other fish with even larger scales” (Alighieri XXIX.82-84). The impression that Dante gives forces the reader into picturing the sinners drag their dirty nails into their prickly, scabbed skin, so rapidly and intense, that he compares it to a knife grating the scales of a fish. Dante also uses visual imagery to describe the lives of the gluttons. Since the gluttons spent their lives consuming massive amounts of food and drink, they represented themselves as garbage. Therefore, they were treated as such in Hell. The reader is able to visualize the punishment of a glutton through Dante’s vivid expression: “Huge hailstones, dirty water, and black snow / pour from the dismal air to putrefy / the putrid slush that waits for them below” (Alighieri VI.10-12). The reader can obviously picture the clean ground beneath all of the disgusting dirt, mold, mud, and rancid slush. Dante also puts the image of the rotting gluttons that lie under this filthy mess into the reader’s mind. Each realm contains something different, and Dante clearly proves to give the sense of a different image every time.

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

Reason, logic, and pure thought are the compasses of humanity. Unfortunately, today no one even bothers to look at the compass or to ask for directions. The lack of logic and reason in our everyday decisions leads to the larger scale chaos that results from apathetic actions. Slowly, almost imperceptibly, as in Dante's case, we have slipped from our guide of Reason and shown pity to people, like Francesca and Paolo, who fall to carnal lusts, or to those like in the Wood of the Suicides. Like Dante, we are only too eager to hear their stories and report back to those above, still in the Dark Wood, of their fate. We feel as though the punishment which God, in His great Wisdom, has dealt out for them were unfair. And we fear for our own

Journeys can be taken many ways. Some people take the path less traveled and some people take the easy way out. Dante happens to be on journey that is less traveled, by exploring the depths of Hell in the Inferno. The epic poem’s story is about self-realization and transformation. It sees Dante over coming many things to realize he is a completely different person from the start of the Inferno journey. Dante sees many things that help him gain courage in order to prove to himself and the reader that accepting change and gaining courage can help one to grow as a person and realize their full potential. After seeing people going through certain punishment Dante realizes that he must not seek pity on himself and others in order to fully realize his true potential.

Dante’s Inferno is an epic poem that is clearly centered on his hate for Pope Boniface VIII. Dante’s “circles of hell” described so vividly in his poem are the result of Dante’s angst toward Boniface as he was once on top of the world until Boniface exiled him only because of his political opinions. Although, he does not clearly name Boniface in the epic he makes sure to include him in five obscure allusions. The first instance alludes to the incumbent pope before Boniface, Pope Celestine V, as the one “who made the great refusal” in the circle of neutrals; as he allowed Boniface to plant seeds of doubt in the months before he suddenly and unexpectedly resigned, leaving Boniface the Pope. The second allusion would place Boniface perfectly in the eighth circle, sixth pouch as the fraudulent sinner he was to prey on Celestine with his utter gift of fraudulent gab to gain a political position of power. The third, fourth, and fifth instances all point to his questionable practice of selling indulgences or absolution. So, therefore, just because he cannot directly mention Boniface in his epic due to him still being alive during the time of his writing, he still manages to make it a point to let him know there is a place for him in Hell.

In Dante’s Inferno, Dante is taken on a journey through hell. On this journey, Dane sees the many different forms of sins, and each with its own unique contrapasso, or counter-suffering. Each of these punishments reflects the sin of a person, usually offering some ironic way of suffering as a sort of revenge for breaking God’s law. As Dante wrote this work and developed the contrapassos, he allows himself to play God, deciding who is in hell and why they are there. He uses this opportunity to strike at his foes, placing them in the bowels of hell, saying that they have nothing to look forward to but the agony of suffering and the separation from God.

Religious people always fear that they will not make it to Heaven or the place their God resides. The bible and other religious text give advice on how to avoid the pain of Hell. Dante Alighieri, a famous Italian poet, wrote about the physical description of Hell and the punishments each sinner would receive for their sins. Although The Divine Comedy chronicles Dante's journey from the depths of Hell to the glory of Heaven it contains a deeper meaning. Dante reveals the true meaning of the Inferno through his leading motif, his interactions between the sinners, and the intertwining of other literary works into the Inferno.

When alluding to the leopard in line two, Dante refers to it as "she" and uses "lithe" to describe its movement, indicating a strong sense of the feminine. Also, the usage of "quick of foot" and "blocking the path," shows a feeling of rapidity which creates a serious situation like a sudden attack. From the allegorical level, it is not hard to find out the moral of a female leopard: the dangerous but attractive desire of lust. In the next line, Dante expresses his fear of this leopard by saying "more than once she made me turn about to go back down". Here the leopard cuts Dante's way towards light, which is a signal of God’s love and the way to peace, and makes him return by the way he came, so he becomes frustrated. Another emergency starting with "But not so much that the next sight wasn't fearful" follows immediately. The second beast appears as a fierce lion. His “roaring with hunger” is so severe that “the air appears to tremble,” revealing a slaughterous animal nature and symbolizing great power in an allegorical plane. Apparently, the lion has a huge appetite for human, so Dante almost feels like dying at this point. What is worse, a grim she-wolf comes into sight. The reference to her “leanness seemed to compress all the world’s cravings” and she “had made miserable such multitudes” contributes to an intense longing for everything, which is concluded as another human