The Cantos

and fraud both have a lot in common? Is Dante’s reverence of the classical scholars more vivid in this canto despite his brevity? Does Virgil’s explanation of why usury was a sin convincing? Why did Dante raise the question on usury at this point since there seems to be no relevant connection to the other two main vices? These are the kinds of questions that make this canto very interesting. Canto XI offers us something different from all the action of the past by providing a map of what lies ahead;

safe to say there are some who are more inclined to achieve their desires rather than watch them pass by. This inclination is a driving force that can, and often does, lead to disastrous or unnecessary outcomes. In watching Redcrosse in the first canto of Edmund Spenser’s, The Faerie Queene, it is seen that humankind can be selfish and inconsiderate of who or what it may affect. So much so that a sheltered, nursing mother is ultimately killed when all she was trying to do was protect herself and

Throughout Canto 27, in Inferno, Marie de France presents this eight level of hell with several themes including, reputation, abuse of power, and the division between church and state knotted together. Dante repeatedly stresses the importance of fame throughout his epic poem, especially in Canto 27. On one hand, souls continuously ask Dante to remember their names and speak of them on earth because they believe that their reputation and fame can be saved on earth, although ironicy it does not matter

Dante and Virgil's Relationship in Canto XIV of Dante’s Inferno In Canto XIV of Dante’s Inferno, Virgil describes the statue of the Old Man of Crete. Dante uses the Old Man of Crete as a metaphor for Virgil’s legacy in order to elucidate the nature of Dante’s and Virgil’s relationship. In the beginning of the metaphor, Dante carefully and methodically illustrates the grandeur of the Greek empire and Roman civilization. "[Mount Ida] was once chosen," Virgil explains, "as a trusted cradle/

Bel Canto Bel Canto is a book full of complex characters, who are slowly unraveled throughout the novel. At the beginning of the novel, the characters are caught up in daily struggles for fame, for money, for power. But once captivity removes these struggles, people gravitate toward art and culture. Yet the transformation of Gen Watanabe, from a gifted individual into a man blind by love, could be considered immoral. He starts off as a very capable and sensible young man and in the end transforms

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

poetry – It is relatively long, divided in cantos, developed in heroic couplets in Iambic Pentameter. Also, the action of the story takes place in a single day, in a single location: London; thus, there is a unity of time, place and action. By means of these devices, the speaker creates a mock-epic where otherworld characters –Sylphs, spirits, and so forth – interact with Belinda, an earthly character with the intention of protecting her from any harm (Canto 2, 122); Belinda is an aristocratic young

Grendel. Also in the cantos there were changes in Grendel’s physical and mental characteristics. Throughout the cantos and the films Grendel's Physical and mental characteristics changed in multiple ways. Grendel wanted revenge on the people who did him wrong, and when he heard the happiness from the mead hall he attacked the people who were inside. Society views monsters very differently, people see monsters in human form and also that creature that hides under your bed.

anguish” (Canto V, Line 135-138). Dante treats these souls with a tenderness that is not seen in any circle of Hell below them. In contrast, in Caïna, the first round of the Ninth Circle of Hell that is comprised of those treacherous to kin, Dante’s interaction with a sinner is apathetic and bitter. In this round where the sinners are frozen in ice up to the neck, Dante’s “foot struck violently the face of one” (Canto XXXII, Line 77-78). Dante then “yanked out more than a fistful” (Canto XXXII, Line

Canto I ➢ Setting- • The Outside of Purgatory • Dante and Virgil are on a shoreline • Four Stars- Fortitude, Temperance, Prudence, Justice ➢ Sin Represented- • None ➢ Virtue Depicted- • None ➢ Punishment- • None ➢ Significant Characters- • The Muses • Calliope- head muse • Cato- old man who Dante and Virgil run into • Commited suicide Canto II ➢ Setting- • Dante and Virgil are on a shoreline ➢ Sin Represented- • None ➢ Virtue Depicted- • None ➢ Punishment and Correction- • None ➢ Significant