The Divine Comedy By Dante Alighieri

The speaker, “Dante”, addresses his audience, the sinners of Anetenora and Ptolomea or the First and Second Rounds of the ninth Circle of Hell, with a sense of hostility and aggressiveness. In previous Cantos, Dante was portrayed as sympathetic and forgiving soul as he walked through Hell showing pity for them. However, the ideas that the speaker portrays in this Canto is one of having a lack of pity for the sinners of Hell Dante’s language throughout the Canto demonstrates the hatred that is to be had for sinners because of his told actions against the sinners. As he tells Friar Alberigo, “If you would have my service, / tell me your name; then if I do not help you / may I descend to the last rim of the ice” (ln. 115-117). He then goes back

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 structures the Commedia in such a way as to enable the pilgrim to function as a progressively more sophisticated reader of confessional texts throughout his journey, and as such he becomes a reflection of our own possibilities as interpreters of these canti. Our initial attempts at interpreting the equivocal texts provided by the sinners are fitful, inadequate, and constantly in need of later correction and reassessment, thus reflecting the pilgrim's own progress. In the reading and re-reading, these confessional passages and canti define themselves as exercises in humility: as understanding becomes the product of a series of misreadings and revisions of the text. In the case of Francesca we have a confession that is more a literary rationale for her offense than an admission of individual culpability, for Francesca seeks to use the language of dolce stil novo poetry as a kind of cloaking device to hide herself as the historical agent or subject who bears responsibility for her

In those individual lives, we learn how sin engulfs them, and the punishment they must receive for it. In the end, Dante created a work full of vivid imagery, and detail that truly made for an impeccable storyline. Even though the Inferno is just one of three parts, Dante allows the audience to form a firm understanding of human evil, and all it contains. Moreover, it’s also important to realize that Dante’s Inferno is a profound exploration of humanity. He simply illustrates an imaginative correspondence between a person's sin, and punishment they received for their sinful

Dante generates an inventive association concerning a soul’s sin on the physical world and the castigation one takes in Hell. The Sullen suffocate on detritus, the Wrathful molest their co-occupants, the Gluttonous are involuntary condemned to devour ordure, and so on and so forth. This undemanding awareness serves not only numerous of Inferno’s instants of impressive imagery and figurative power, but also serves to irradiate one of Dante’s foremost themes: the excellence of God’s righteousness. The dedication over the gates of Hell in Canto III unequivocally articulates that God was stimulated to construct Hell by Justice (III.7). Hell subsists to penalize depravity, and the aptnesses of Hell’s precise penalties testify to the celestial excellence that all sin violates.

That simple shift in language shows his high regard for Brunetto and the respect he still has for him. Brunetto asks if Dante would like for him to walk with the poets. Dante’s willingness to have Brunetto in his company creates additional emphasis for his high regard of his mentor. In the other Cantos Dante is indifferent to or purposefully acts in a way to increase the suffering that the sinners he interacts with. As he recognizes Brunetto through his blistered and burnt features Dante leans forward to close the gap between them. Dante is seemingly shocked by finding Brunetto in hell. His surprise reveals the positive opinion that he has for Brunetto, he didn’t expect him to be there. In the same way Brunetto seems shocked at Dante’s presence in hell before his time. Brunetto grabs at Dante’s cloak, calls Dante his son, and then asks if Dante would mind him walking with the poets. Both characters actions provide motivation for Dante to continue on through hell and to a better

Dante Aleghiri 's Divine Comedy is widely taught and written about. In it Dante, the author, details his trip through Hell, Purgatory, and then Paradise. The Divine Comedy was written during Dante 's exile from his beloved city of Florence Italy. The work itself is read at various different levels. One could read it as a theological work, a political work, simply as a poetic work, or even as a philosophical work. In his work, "Dante’s Paradiso: No Human Beings Allowed" philosophy professor Bruce Silver argues that, ” Dante is not a philosopher," instead he just deals with philosophical issues, "including the relation between reasoning well and happiness." Dr. Jason Aleksander, the philosophy department chair at Saint Xavier 's University, would disagree, stating, "In short, for Dante, wisdom, 'the body of philosophy, ' results from the proper ordering of earthly desires or, in other words, 'from the order among the moral virtues. '" Aleksander sees Dante as a philosopher tackling philosophical issues and because he takes that stance he interprets Dante differently than Silver does.

The human spirit is a complex and fascinating phenomenon which rises and falls during the day to a week to even in a moment, but have you ever thought what leads this expression of human emotions? Multiple people of many different occupations have tried to figure out this leader in the human spirit that sways between rashness and logic. Writers such as Dante Alighieri question this hope of the spirit and where it originates. He realizes that there is more to person damnation. While another poet Omar Khayyam encourages people of his time to question authority and logic behind the rules that force them to adhere to a strictly regimented lifestyle. This paper will compare the notion of Cicero's

Dante asks the couple why there are in Hell, and why this circle. Francesca then tells of her depressing story of love with Paolo. Dante replies by saying, “Francesca, what you suffer here melts me to tears of pity and of pain.” He then proceeds to swoon and collapse to the floor of Hell. This is one of Dante’s biggest reactions to the things he sees in Hell.

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;

Dante cannot gasp the idea that love can condemn someone to a eternity of suffering. Dante’s emotions of pity and sorrow toward Francesca and Paolo make him faint. In order to understand why Dante has such a strong and unintentional reaction such as fainting, I will analyze Canto V by using Dante’s own fourfold method of interpretation: literal, allegorical and moral with the exception of the anagogic method. `Even thought Dante is already in hell, he has not yet seen the suffering of the sinful souls.

Throughout the Inferno, Dante has often presented characters in a way that reflects his own personality: there is the amorous and suicidal Dido for whom he shows sympathy and gives a lesser punishment, while there is the suicidal Pier delle Vigne to whom he gives a much harsher punishment. This difference in placement should reflect a strict moral code that agrees with a pre-established divine order, and yet Dante demonstrates such obvious favoritism. Why? Dido loved Aeneas too much, as Dante loved Beatrice. Therefore, Dante can easily sympathize. Similarly, when Dante faces Francesca da Rimini and her lover Paolo, he experiences an immense amount of understanding and compassion – yet they are there in Hell. While these characters may come

Dante says “Francesca, the torment you suffer / brings painful tears of pity to my eyes” (ll 115-116). Francesca tells Dante that there is no greater pain in present grief than to remember past happinesses. Dante is overcome by pity for the lovers and faints to the ground. William Henry author of The Moral System of Dante’s Inferno explains this by saying that “Since functions and activities of the south which, by their very nature, are beyond the control of reason” which makes sense as the two fell in love after reading the story of

In The Divine Comedy, written by Dante Alighieri, illustrates a man on his journey through three stages of differing setting. One, being hell, and the other two being purgatory and Heaven. However, the most frequently read section of the book is when Dante writes about the Inferno, or hell, due to the prolific details of punishments distributed to the sinners. When he writes, Dante appeals to all readers by completely and vividly describing all events as he makes his descent through hell. And, complementing those descriptions, Dante strategically places historical figures throughout history in hell to make The Divine Comedy real and very relatable. In other words, by doing this Dante enables the reader to connect on a more deeper level with the comedy. Not to mention that Dante also bases his Inferno off of Christian beliefs and well known mythology also connecting the reader further into the writing. However, Dante purposefully and masterfully does this for a reason. In The Divine Comedy, written by Dante Alighieri, Dante realistically and vividly portrays hell in a violent surreal manner in order to educate the reader, and the living for that matter, about their potential eternal after lives if they do not follow the true path God provides.

From the very beginning of Dante’s Inferno, a difference in the characterization of Dante the Poet and Dante the Pilgrim is very evident. While Dante the Poet is the one essentially writing the epic poem and shamelessly assigning each sinner’s punishment, Dante the Pilgrim is traveling through the different Circles of Hell and experiencing each sinner’s emotions first hand. Dante the Poet has a different perspective on each sinner which permits him to be aware of details that Dante the Pilgrim is oblivious to, thus leading to their differing viewpoints on each person encountered. By examining Dante the Pilgrim’s actions towards sinners through the duration of this epic poem, specifically when interacting with those placed in Limbo, Francesca and Paolo, Phlegyas, and eventually Bocca, a transition within Dante the Pilgrim’s attitude towards the sinners is very apparent. Because the sins became more and more extreme in both God and Dante the Poet’s eyes as they traveled through each circle and ultimately approached Circle Nine of Hell, Dante the Pilgrim transformed into a character very similar to Dante the Poet.