The Aeneid And Dante Alighieri's Inferno

Aeneas, the titular hero of Virgil’s Aeneid, is the flawed Trojan hero sent on a divine quest to found the new Troy and establish the basis for the Roman Empire. Along this journey, he is pushed to his limits both mentally and physically. This strain shows him to be a deeply Roman hero, especially in the values that come forward in his actions and response to tragedy. He embodies two major Roman values: pietas and respect for family, both past and future.

Dante Alighieri’s epic poem, Inferno, and the Book of Revelation as told by John in the Bible each regale the natural curiosity of humans involving manifestations of endings and possibilities of new beginnings in the afterlife. The purpose of informing God’s people of these manifestations and possibilities is mutual and key to the preparedness of humans for life after death. Still, justice is surely delivered appropriately in Inferno and Revelation, due to God’s brilliant arrangements. Divergence between minutiae is outshone by appreciation of seemingly incredulous similarities between God’s plans in the texts. Analysis reveals that Inferno and the Book of Revelation share countless themes, concepts, and scenes, though they differ slightly in the specific details surrounding the unfolding events.

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.

One of the major themes which Dante inferno raises is the nature of the virtues. Like the spirits of hell, the spirits that are encountered by Dante have all sinned. The spirits out there were punished

Virgil and Dante proceed down into Hell; in Hell Dante sins in every circle, committing the sin that represents each circle. After Dante sins in each circle he begins to learn and grow as a person realizing his mistakes but Dante is still his proud, careless self. In the circle of the wrathful, containing the sinners full of anger, Dante scolds one man saying “may you weep and wail to all eternity, for I know you hell-dog”. Dante is becoming angry just like the

Themes are fundamental and universal ideas that are explored in literary works. The epics of The Inferno by Dante and The Odyssey by Homer are two different stories with themes that that have some similarities while others have a variation. In The Odyssey, the key point is Odysseus struggling to return home. In the Inferno, Dante acts as the main character who struggles with good and evil and this translates to be the main theme of the epic. Dante explores deeply the Christian hell and heaven, which includes the immediate Purgatory. The experiences push him to cast his loyalty to good and God. The contrasts in The Odyssey and Inferno are

Does hell have its own history? For Dante, the structural and thematic history of ‘hell’ in the Inferno begins with the Roman epic tradition and its champion poet, Virgil. By drawing heavily from the characteristics of hell in Book VI of The Aeneid, Dante carries the epic tradition into the medieval world and affirms his indebtedness to Virgil’s poetry. Moreover, Virgil becomes a central character in the Inferno as he guides Dante, the pilgrim, who has no knowledge of hell, through his own historical model. Similarly, the protagonist of The Aeneid, Aeneas, lacks the foresight necessary to make the journey through hell on his own and thus places his trust in the

The truest of man’s goals is to create art. Art is a by-product of the gift of man over the animals, creativity. Truly, creativity is a replication of God in man and a very possible interpretation of the Genesis 1:27 phrase “in his own image,” along with others—the possession of an immortal soul or the ability to speak. And creativity’s ultimate end product is art. And art more often than not in the history of man has led man to pay homage to his creator. Three of the classic literary artistic works of mankind, Homer’s Iliad, Virgil’s Aeneid, and Dante’s Inferno, feature—if not focus—on the deity or deities of the respective authors and their relation to the characters

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 being screamed at by a sinner whom Dante has know recollection of, Dante and Virgil continue on through Circle 7 until they reach the final round of the circle which contains those who were violent against their families. Dante then notices a vas number of individuals handing items to the other before being brutally ripped limb by limb and asks Virgil who could these poor individuals be. After scolding Dante and telling him that none of these sinners are poor, Virgil explains that this round contains those who had murdered their own families. Once he had heard the acts these sinners had committed, Dante then asks how handing an item to someone and then being ripped limb from limb has anything to do with their sin. Virgil then explains

The Aeneid, written by Virgil, was written in Rome between 30 and 19 B.C. Virgil wrote many of his writings during the time of Octavian, the estranged nephew to Caeser. During the beginning of the times of Octavian and the time of these writings Rome was in a state of civil war, which later turned into the most peaceful place in the world. Many people were torn from their homes and new boundaries were created. It is important to know the culture and gender roles of the people, the person in power, and the system of government in place at the time of the writing.

The Aeneid is a story that follows a Trojan warrior and refugee who fleeted during the sack of Troy, named Aeneas, who arrives on the Shores of Italy where he struggles to fulfill his destiny as he encounters many foes and even wavers constantly between emotions and commitments while trying to fight the Italian prince Turnus. It is a Roman mythological story about how Aeneas founded the foundations of the city of Rome and is also believed to be the Gateway between the pagan Christian centuries.

Dante had his fair share of the real human experience, whilst traveling through hell in Dante Alighieri’s “The Divine Comedy”. Characters in literature have been popularized since this masterpiece to favor sins as a type of personality trope. The lazy bum, the angry husband, or the prideful peacocks; the list goes on and on. The cause and effect of these traits have served well to teach generations of readers, the ideas and meanings of our actions as humans. Although it is rare, some works leave open ended plots for us to contemplate the meaning of said sin. In conjunction to some of the deadly sins, the main characters from “The Cask of Amontillado”, “The Veldt”, and “Soliloquy of the Spanish Cloister”, all display a truth about human nature.

Virgil was Rome’s unwilling epic poet, he gave the Roman people a cohesive narrative that tied them to the past and propelled them towards the future. This narrative, The Aeneid, had its basis in local lore as well as ties to the older Greek epics of Homer. The Aeneid almost functions as an extension of The Iliad and Odyssey, with its protagonist, Aeneas, being a minor figure in the earlier poems, and the work itself academically divided into “Odyssean” and “Iliadic” parts. In this relationship Virgil owes a creative debt to Homer, and there is a resemblance that can be seen with striking clarity when the experiences of Homers’ Odysseus and Virgil’s Aeneas are examined side by side. Odysseus and Aeneas are both honour bound to reach the destinations of their respective journeys, Odysseus to rule Ithaca and Aeneas to found Rome, and while ones journey often mirrors the others, there are significant differences between the two. The major differences that can be observed lie in their characters and forms of heroism and these variations shape the course of their narratives, yet the similarities of their internal journeys and ultimate fates remain intact.

The horrendous death of the trojan priest Laocoön and his sons is a classical event associated with the final days of Troy, inspiring works in literature as well as visual arts. Book 2 of The Aeneid, by the Latin poet Virgil, and the 1st Century CE marble sculpture ‘Laocoön and Sons’ are two famed works that are inspired by the Laocoön Episode. Though both the sculpture and the text are canonical works of their own genre, the latter is more superior in terms of delivering a comprehensive narrative on the Laocoön episode. The Aeneid amplifies movements of Laocoön and the serpents using literary devices and adopts a time frame spanning from the arrival of serpents to the death of Laocoön to deliver a complete narrative, whereas the sculpture, though using dynamic movements and utilizes a single moment within the time frame of the text, fails to contain a general, uninformed viewer within the episode’s context.