Purgatorio Essay

At the most fundamental level, Dante associates the setting of darkness with sin and sin’s deceiving nature through contrasting the darkness of Hell with the light of Heaven. In the first Canto, Dante sees that his escape from the wilderness is the pursuit of the sun; although Virgil, his guide, offers a better path to achieve his goal, the sun nonetheless represents a lack of sin. Immediately from the start, the darkness represents animalistic sin, such as incontinence or violence. However, Dante’s incorporation of sins against reason with darkness do not become clear until later in his journey. In Hell, darkness, like the degree of sin,

Paolo and Francesca represented, or symbolize, sinful love by example. They show how an intrinsically noble emotion, love, if contrary to God’s law, can bring two essentially fine persons to damnation and spiritual ruin. Dante’s personal response of overwhelming pity should not blind us to the justice of the penalty. Dante describes himself as fainting at the end of Francesca’s recital, his purpose is partly to portray the attractiveness of the sin. Dante allows the lovers the bitter sweetness of inseperability in Hell, but they have lost God and thus corrupted their personalities; they can hardly be considered happy. In a sense, they have what they wanted; they continue in the lawless condition that

Dante's "Inferno" is full of themes. But the most frequent is that of the weakness of human nature. Dante's descent into hell is initially so that Dante can see how he can better live his life, free of weaknesses that may ultimately be his ticket to hell. Through the first ten cantos, Dante portrays how each level of his hell is a manifestation of human weakness and a loss of hope, which ultimately Dante uses to purge and learn from. Dante, himself, is about to fall into the weaknesses of humans, before there is some divine intervention on the part of his love Beatrice, who is in heaven. He is sent on a journey to hell in order for Dante to see, smell, and hear hell. As we see this experience brings out Dante's weakness' of cowardice,

The text answers the question in a direct way using the works of Aristotle, “How his Ethics describes, and deals with at length, the three dispositions rejected by Heaven, Incontinence, malice, and bestial rage and how one of these offends God less and so incurs less blame?” (Canto XI 80-83). At this explanation a reader could draw the conclusion that God’s judgment is merciful and perfect. The question though still remains, if those of previous levels offend God less why do they still incur such a horrible punishment? This question leaves implications that God’s punishment might not be perfect and just. In previous cantos Dante seems to have developed some pity for those shades he has met in previous circles, such as Ciacco, and Francesca. He sympathizes with those damned almost as if he is realizing his own sins of his world. The implications of an imperfect and unjust God can ripple right to the very core of our own existence. If god is not perfect then

While love is not frequently mentioned in the poem the Inferno, it always has a presence on the back of the reader’s mind. The most surprising appearance of love comes at the gates of hell. This is where Dante learns that this place of punishment has been created from “Primal Love”. Dante displayed hell as being birthed from “the primal love”, or the Holy Spirit. Though those who do not believe the justice of eternal punishment are all less inclined to regard it as a byproduct of God’s love. In this essay I will reveal how hell is the result of God’s loving character, and how it was indeed created from love.

After one of his visions, Dante struggled with conflicting thoughts of Love, that disturbed his peace of mind, “The domination of Love is a good thing because he guides the mind of his faithful followers away from all unworthiness, [and] The domination of Love is not good because the more faithfully a follower serves him, the more burdensome and grievous are the moments he must endure.” (XIII, 5). Dante is articulating Love to be a man and a higher power, i.e God. He struggles with his Love for Beatrice because he is overwhelmed with emotion when she is present; much like someone would feel in the presence of God. This is why he feels conflicted. He also speaks of Beatrice as

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

Dante claims that all humans are gifted free will from God. The importance of free will lies in the notion that, if everything were pre-determined, our choices and our lives would effectively lose meaning. God grants us control over our destinies—that is, whether we go to Hell, Purgatory, or Heaven. By giving humans free will, God allows us to either follow good or evil paths in our lives. This is particularly important because if our choices were guided, it would lack the significance of our choosing to love God through the exercise of our own will. Through Dante’s travels in Inferno, Purgatory, and Paradise, he discovers that free will is God’s greatest gift to us, and that it can lead us to ultimate happiness or ultimate misery.

From Dante's perspective, crimes of passion or desire are the least abhorrent and consequently deserve minimal punishment in comparison to what he believes are the more serious offenses. These sinners, the carnal, the gluttonous, the hoarders and wasters, along with the wrathful and

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.

The notion that the sinners Virgil and Dante meet are historical figures tempts readers to interpret Dante’s symbolism in a historical sense. Paul G. Chevigny, for example, argues that Dante’s view on betrayal originates from his ethical concerns in a “political milieu” (Chevigny, 790). For Dante, the most severe crime was the most human, the one that most clearly exhibits the misuse of free will: the betrayal of trust. Dante believes that crimes of betrayal were the most serious not only because they required the most deliberate practice of free will, but also because they did the most damage to the ethical net of obligations in society. As previously mentioned, Dante’s political role in Florence established his ideal of a stable society built among the trust of political leaders and their followers.

Botticelli’s adaptation of Canto 1 of the Purgatorio stays much truer to the literal description as originally depicted by Dante. Botticelli stays faithful to the text; he illustrates Mount Purgatory as cone-shaped showcasing its tectonic structure. The artists employs his graphic, thin linear style to illustrate the different terraces etched into the mountain, building up to peak of the mountain where a tree stands in place for Earthly Paradise. The artist is minimal in the use of detailing, capturing only what is needed and allowing the rest to fill with blank space. Botticelli depicts the island as the focal point of the image, allowing the rest of the illustration to be blank except for the people in the image minor details such as grass,

Dante is truly a great poet. When he describes a place, he goes truly deeply than what’s on the surface. In Purgatory, when Dante and Virgil are walking through the gateway, Dante describes each step when walking in. “Once there, Dante and Virgil have to climb three steps to ascend to the gate (Purg. IX, 76-77; Sayers 1955b) which is guarded by an angel. These three steps signify the confession of sin, contrition for sin and satisfaction for sin”. He first describes the first step by saying, “We came to the first step: white marble gleaming/ so polished and so smooth that in its mirror/ I saw my true reflection past all seeming” (IX 94-96). In these first stanzas to the entrance of Purgatory demonstrates the color white as hope and desire of improvement. This is very

Dante's `Divine Comedy', the account of his journey through hell, purgatory and heaven is one of the worlds great poems, and a prime example of a most splendidly realized integration of life with art. More than being merely great poetry, or a chronicle of contemporary events, which it also is, the `Comedy' is a study of human nature by a man quite experienced with it. The main argument I will make in this essay is that Dante's `Comedy' is chiefly a work of historical significance because in it lies the essence of human life across all boundaries of time and place. I feel that such a reading is justified, nay invited, by Dante himself when he says;

Virgil, human reason, does not only lead Dante physically through Purgatory, but he also leads him with his words as Lombardo does. Vigil tells Dante that he must “give [his] entire attention to [his] words”