Ego and Super Ego in Dante's Inferno Essay

The epic poem, “The Iliad,” written by the Greek poet Homer, contains many occurrences of the psychologist Freud’s approach of the three systems of Superego, Id, and Ego. Superego, the little angel on one’s shoulder, is considered to be the voice of our moral compass (conscience) that speaks from the unconscious mind on the difference between real and ideal situations. It strives for perfection with tracking what we ought to behave like. Id, opposite to Superego, is the little devil on the other side of one’s shoulder. Its unconscious energy strives to satisfy the basic drives to survive, reproduce, and aggress. To balance these two systems, the Ego becomes the mediator and compromiser to keep both content. One’s Ego focuses on responses to the real world, stemming from the reality principle. It contains our partly conscious perceptions, thoughts, judgements, and memories.

Throughout the rest of the book, Freud addresses the conflict between civilization and the individual. He starts with the fundamental paradox of civilization: we created civilization as a tool to protect ourselves from unhappiness; however it is our largest source of unhappiness. He also points out that contemporary technological advances have been a mixed blessing for human happiness. He also asks what the purpose of civilization is if it is not to satisfy the pleasure principal. He later concedes that civilization has to make compromises of happiness to fulfill its primary goal of bringing people into peaceful relationships with each other, by making them subject to a higher, communal authority.

Out of the id, ego and superego of Freud’s theory of personality, the superego is the one that mostly controls Brian. Brian’s superego internalizes society’s “norms, etiquette, rules, and customs” much like his ego, but his ego doesn’t overpower since he’s not trying to mediate his id which craves for irrational, impulsive, primitive and childish desires (Weiten, 480). Instead, his

But Virgil comes to the poor, powerless Dante. He will never really do anything alone from this point on, which is good because in order for Dante to understand and learn he must have a teacher, t here must be some authority for Dante. There is a grey hound that is mentioned (canto 1, line 78-88, Alighieri). I think that this grey hound is Virgil, because he represents the savior of Dante. He is said to represent intellect, and in Dante's mind that is what is needed to be reasonable, and reason conquers all desires and weaknesses.

Freud primarily subscribed to the idea that there are two energies that drive human behavior. These two energies are sex – the pleasure principle and aggression. The human mind is comprised of the conscious, preconscious, and unconscious. Within the realms of the mind, the human personality is controlled by the id, the ego, and the superego. The id is driven by the pleasure principle. The superego is the instinctual moral good, which aims to please the ego ideal, or the magnified moral values. The ego interacts with both the id and the superego and aims to please both components (Connors).

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.

The role of religion, ancestry, and nationality are crucial in forming one’s identity. These items and more come together to create a sense of security for an individual. The narrative epic poem, The Inferno, by Dante Alighieri takes the reader with Dante on his journey through Hell and rediscovery of his identity. Dante’s journey commenced as a result to him falling into temptations whilst falling away from God. This led him to travel through the Dark Wood of Error which symbolizes the worldliness that occurs when one strays from the True Way, or God’s Way. The spirit of the poet Virgil, symbolizing Human Reason, appears and leads Dante away from the Dark Wood of Error and to the Divine Illumination with a journey through Hell. The need

One major portion of Sigmund Freud’s perspective on psychology involves the personality structure of the id, ego, and

     In Canto XI of Dante's Inferno, Virgil carefully explains the layout of hell to his student, Dante. Toward the end of his speech, Virgil says that "Sodom and Cahors" are "speak[ing] in passionate contempt of God," (XI, 50-51), and divine will thus relegates them to the seventh circle. The sin of the Sodomites is clear for Dante, who poses no question on the matter, sodomy perhaps being an obvious affront to God which the bible directly addresses. However, the sin of "Cahors," namely usury, is not clear to Dante. He asks Virgil to "unravel" the "knot" in his mind, since there is no obvious reason why a usurer - a money lender essentially - deserves any punishment at all for a crime

Virgil- Beatrice sends Virgil to Earth to retrieve Dante and act as his guide through Hell and Purgatory.  Since the poet Virgil lived before Christianity, he dwells in Limbo (Ante-Inferno) with other righteous non-Christians.  As author, Dante chooses the character Virgil to act as his guide because he admired Virgil's work above all other poets and because Virgil had written of a similar journey through the underworld.  Thus, Virgil's character knows the way through Hell and can act as Dante's knowledgeable guide while he struggles alongside Dante

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

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

The super-ego functions as a self-regulating tool for the ego, “exercis[ing] the same severe aggression that the latter would have liked to direct toward other individuals.” Unlike the id or the ego, the super-ego is a result of society’s ideals and is what causes us to feel guilt, it is “an internal authority.” Society dictates what one should or should not feel guilty about, it is a learned, not innate aspect of human consciousness. This again similar to Nietzsche’s discussion on guilt, that guilt developed out of society and his ideas of conscience and morality to be a social construct. Although, Nietzsche explicitly puts the blame on the priests and religion, Freud seems to think it a naturally occurring aspect of

Dante’s Inferno begins in a dark forest, a place of confusion, because he lost his way on the “true path”. Seeking an escape, Dante finds a hill where the sun glares down on him. This light seen in Dante’s Inferno symbolizes clarity as the sun represents God. After encountering three beasts and turning back to the murky forest, Dante crosses paths with the great Roman Poet, Virgil. Virgil is an aid and guide to Dante to Heaven, the ultimate Paradise. He warns Dante he must pass through Hell and Purgatory in order to reach his salvation in heaven. Virgil is depicted as nature or human reason perfected by virtue. It is strongly emphasized that Virgil can only take Dante so far in his journey by guiding him to heaven. Much like St. Thomas Aquinas’ reasoning, nature or human reason can only bring you so far in the journey to God. As Virgil and Dante approach the mouth of Hell, Virgil preaches to Dante about a woman in Heaven who took pity upon Dante when he was lost in hell. The woman Virgil speaks of is Dante’s departed love Beatrice. After Dante hears that Beatrice is heaven he now sheds the fear of traveling through Hell and Purgatorio.

Virgil is Dante’s guide through Hell and Purgatory. In the beginning of Inferno, Dante “finds himself alone in a dark wood” and finds himself lost in life. He sees a mountain that is used to represent Heaven, but as he tries to climb it, he is confronted by three beasts that represent sin, and runs away. Dante finds Virgil, and asks to be lead through Hell and Purgatory. Virgil lives in Hell, so he is fit to guide Dante through there. Virgil leads Dante through the 9 Circles of Hell and whos him all of the suffering that sinners experience. While Dante and Virgil are in Purgatory, it is Virgil’s job to take Dante through the levels and show him that the people there have sinned, but then forgiven God. Virgil explains that the people who used to be sinners had loved wrong, and once they released it, then they turned to God.