Odysseus And Dante's Inferno

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

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.

A trip to hell is not unique to Homer’s The Odyssey, but rather this journey is found as an archetype in multiple cultures. If you look at any story from any culture, there is always a low point or valley in the story where a hero must dive into the unknown to prove themselves as a hero. This also serves as a stage to show the hero their own mortality and enhance their bravery. What results is that they emerge from the hardships as a brave and justified hero. There is no place that maintains these circumstances of death and decay better than the underworld. Additionally, what makes the hero a hero is the fact that he or she has gone to the place of no return for most people, and has come back after conquering some form of evil. This gives the

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.

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.

While every person has a different depiction of Hell, Dante provides fascinating imagery of his portrayal, so the reader can truly experience the

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.

Throughout Virgil’s Aeneid, there are characters such as Anchises, Creusa, and Dido, whose deaths are relatable to the deaths of heroes in works the audience would be familiar with such as the Odyssey, the Iliad, and The Oresteia. However, Priam’s death differs as being relatable to the deaths of other heroes and by Virgil’s over-dramatization of Priam’s death through incorporating a snake metaphor as well as with the excessive abuse Priam faced on his way to the altar. In other ancient literary works such as the Odyssey, the Iliad, and The Oresteia, the use of a snake references serves to indicate important plot elements. Analyzing the use of the snake metaphor surrounding Priam’s death suggests that comparing the snakes between book two and book five highlight the change of fortune for the Trojans and Aeneas, on their journey to Italy.

When comparing “The Aeneid” to “The Odyssey”, it is impossible not to notice the similarity between Homer and Virgil 's poems. Both heroes leave Troy, granted one barely escapes and the other leaves victoriously, and both in one sense or the other are trying to reach their home, whether it is the old or future home. The adventures of the two heroes are incredibly similar on a number of accounts with the trip to the underworld being most intriguing.

There has long been a fashion among critics and historians, including Sir James Frazier and Graham Hancock, to insist upon taking the account of Odysseus' voyage to Hades in Book XI of the Odyssey at near face-value as a description of people and places familiar to a Greek audience of Homer's day. Both linguistics and comparative history have been employed to discover exactly how accurately this originally oral epic conveys this gritty realism. Something, however, is not right with this purely empiric approach. What is missing is an examination through the lens of ancient religious practices. Surely a literary work so teeming with deities-wise Athena, spiteful Poseidon, impish

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

Traveling from one place to another, physically moving, is beneficial in changing scenery and changing perspective however, physical travel is not the only travel that brings about a positive change in people. Metaphysical travel, also known as a mental or spiritual exploration, is just as powerful as a physical one. Dante, in his epic poem Inferno, and Odysseus, in the epic tale written by Homer known as The Odyssey, experience travel in the physical and mental state. Dante travels through Purgatory, Hell, and Heaven upon force to reevaluate where he has come in his life. Dante’s journey forces him to think about the cost of decisions each person makes in this life that affects the next one. Odysseus is physically separated from his family and most go through mental and physical obstacles to get back to them. He must figure out what he wants most and find the strength to fight for it. Though Dante and Odysseus experience contrasting adventures and tribulations both individual’s journeys change their future courses and give them enlightenment into the rest of their lives. Both forms of travel are valid for growth and necessary to bring about positive and new perspective to Dante and Odysseus.

In the journey that he undertakes throughout the underworld, he had been privy to many stories. All these stories as demonstrated in the poem are connected through the thread of recognizing that mortality had been extinguished. For the central character of Odysseus, his admiration of the powerful nature as well as the power of Achilles who is now an underworld member, triggers him to explore his personal self-awareness regarding mortality and specifically its nature (Sowa 241). In an exchange which can be pointed out in the poem, the self-realization of the character of Odysseus is very self-evident and it underlines epiphany of his character- “O shining Odysseus, never try to console me for dying. I would rather follow the plow as thrall to another man…than be a king over all the perished dead” (Davis

With his writing style and the implementation of some literature firsts, Dante assured his name in history. His mastery of language, his sensitivity to the sights and sounds of nature, and his infinite store of information allow him to capture and draw the reader into the realm of the terrestrial Hell. His vast store of knowledge of Greek mythology and the history of his society assists Dante in the

A dark, silent, formless void, a perpetual abyss without orientation, this is essentially what the Greeks believed was the origin of the world. The ancient Greeks while trying to further explain the world, invented beguiling myths (Evie). From these myths a world of human like gods and goddesses was formed (Evie). Through narratives, legends, and myths this world justified various abstract ideas, thus creating Greek mythology (Evie). A central element in Greek mythology is the underworld. The underworld is considered to be the place where one’s soul goes to after death. The underworld has played a vital role in Greek culture by serving as an incentive to live a virtuous life, which in turn has affected all aspects of Greek life.