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Dante?s ?Inferno?: The Teacher and The Student, 2002.
This paper presents a detailed examination of the relationship between Dante and Virgil in Dante?s "Inferno".
690 words (approx. 2.8 pages), 1 source, MLA, $ 24.95
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Abstract
The paper states that in Dante?s "Inferno" the personality characteristics of Dante and Virgil and their relationship is extremely important to the context of the story. The writer uses examples and character analysis to present this relationship.
From the Paper
"Dante is not a gifted man intellectually. He is a bit of a bumbling guy who seems to need a lot of supervision and guidance to get through life. He was however, a firm spiritual believer who followed his heart when it comes time to believe in Virgil."
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"The Divine Comedy" - Dante Alighieri's "Inferno", 2007.
A discussion of the epic poem "The Divine Comedy" by Dante Alighieri, focusing on canto III of Dante's "Inferno".
1,192 words (approx. 4.8 pages), 4 sources, MLA, $ 40.95
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Abstract
This paper examines the scholars and the de-contextualization of Dante's "Inferno" - with special emphasis upon canto III. The paper summarizes the scene when a fearful Dante first enters Hell and discusses its significance in terms of understanding Dante and his world. The paper also looks at how intellectuals view Dante's "Inferno". The writer believes that the work stands out as a classic example of the medieval allegory play taken to new rhetorical heights. The writer concludes that it is also an example of how even the simplest works, if powerfully wrought, can spark wide discussion among academics who seek out meanings unimagined by the author.
From the Paper
"Ultimately, the canto, like the rest of the cantica, is a potential mirror into the world in which Dante Alighieri lived as well as a mirror into his own inner turmoil as a devout Christian seeking a purpose to his life as well as answers to questions that presumably many devout Christians were asking in the fourteenth century. To start with, the canto (in the original Italian, anyway) was written in the demanding terza rima rhyme pattern (Scott para.2) and, even in English translations, the text can be difficult to follow as Dante tries to bend the language into shapes and forms to which it does not adhere willingly."
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"The Inferno of Dante", 2002.
Tracing the relationship of Dante and Virgil based on Robert Pinsky's translation, "The Inferno of Dante".
751 words (approx. 3.0 pages), 3 sources, APA, $ 26.95
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Abstract
This paper examines the relationship between Dante and Virgil as depicted in Pinsky's translation. Their relationship throughout poem is filled with symbolism. The epic poem is about Dante who journeys through the underworld and Virgil, the Roman poet, serves as his guide. The paper shows how Virgil symbolizes knowledge and safety to Dante, who is at times uncertain and timid about traversing such treacherous terrain.
From the Paper
"Robert Pinsky is a distinguished poet and translator of "The Inferno of Dante" (Farrar, Straus & Giroux, 1994). The "Inferno" -- which is the first part of Dante's "Divina Commedia" -- remains a popular and compelling poem for modern readers; there have been at least fifty English versions of the "Inferno" in this century alone. Of course, any translator must rely on previous translations and commentators in undertaking such an ambitious task, and Pinsky has said that he depended largely on Charles Singleton's scholarly, painstakingly literal prose translation (1970), and on the best-known nineteenth-century American verse translation, by Henry Wadsworth Longfellow (1867). "
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Devil's Advocate in Dante's "Inferno", 2008.
A discussion of Dante's struggle between pity for the sinners condemned to hell and affinity with the justice of his Creator in condemning them, in his poem "The Inferno."
2,267 words (approx. 9.1 pages), 0 sources, $ 70.95
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Abstract
This paper discusses Dante's vacillation between supporting or challenging God's justice during his journey among the dead sinners in "The Inferno." The writer discusses first the argument that there is a decreasing trend of pity in Dante for the sinners, and the texts on which it is based, and then shows how Dante alternates between pity and loathing throughout much of "The Inferno". The writer shows that Dante's personal biases and municipal and political loyalties remain the deciding factor in his interaction with the sinners, not the nature of the sin committed. Dante's pity or lack thereof is also influenced by the words and actions of the sinners he encounters. The writer analyzes Cantos XXXII and XXXIII and concludes that Dante remains as indecisive in the end as he was in the beginning of his journey. The paper includes figures.
From the Paper
"Before launching into an argument against Dante's decreasing trend of pity for the sinners, let us take a moment to consider the merits of this stance. At first glance, the character Dante seems to become increasingly merciless towards those agonizing in Hell. Early on in his venture, he weeps at the very sound of the suffering souls: "Now sighs, loud wailing, lamentation / resounded through the starless air, / so that I too began to weep" (III.22-24). Without even identifying the sin behind their cries, he grieves at the justice commanded by God and so, as Virgil warns, affiliates himself with the sinners instead of with heavenly sanction."
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Dante's "Inferno", 2004.
A review of Cantos Five and Thirteen from Dante's "Inferno".
899 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
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Abstract
This paper details two cantos from the tale of Dante's "Inferno" and attempts to derive how accomplished a writer Dante actually was because of his use of imagination and reality through a review of Cantos Five and Thirteen. It assesses Dante's skill in telling his story by tying together his vivid imagination with his ability to describe people realistically. It shows how, in Dante?s hell, the sins of the individual souls describe both how the individuals lived their lives before death and how they will spend eternity after death and how Dante?s imagination mixed with reality made his tormented characters believable and opened a window into their lives.
From the Paper
"Dante had a definite interplay between reality and imagination. For example, one would think that with the many tortures and the constant torment, these levels of hell would reek horrendously. Although not from either Canto five or thirteen, this example demonstrates how the author combined real and imagined to describe the smell of hell and his imagination makes it very real. ?Dante arrives at the verge of a rocky precipice which encloses the seventh circle, where he sees the sepulchre of Anastasius the heretic; behind the lid of which pausing a little, to make himself capable by degrees of enduring the fetid smell that steamed upward from the abyss, he is instructed by Virgil concerning the manner in which the three following circles are disposed, and what description of sinners is punished in each.? (DANTE) Dante captures the stench precisely."
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Dante Alighieri's "Inferno", 2006.
Discusses parenthood as presented in Dante Alighieri's "Inferno".
805 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper suggests that, while the notion of Heaven and Hell perhaps has its origins in Dante's "Inferno", there is, in actuality, a far more intimate duality to be examined: the paternal relationship between a father and son. The paper relates that Dante establishes Virgil the guide as a father figure to the pilgrim Dante. Yet, as in all father-son relationships, there is a metamorphosis. Virgil progresses from a strict father to becoming tempered by love and maternal instincts, while his son Dante, progresses from a helpless child to a rebellious teenager. The paper discusses this metamorphosis and concludes that the tender and affectionate relationship the two characters share is a counter-point to the nightmarish discourse of heaven and hell.
From the Paper
"However, as in most parenting relationships, children grow to the rebellious stage of adolescence. Dante begins to experience great fear and doubt concerning Virgil's power. In the beginning of Canto IX, Virgil is unable to open the gate of Dis. The all-knowing Virgil has failed. Dante thinks to himself, "the colored cowardness displayed in me when I saw that my guide was driven back..."(9.1-2), "Nevertheless, his speech made me afraid, because I drew out from his broken phrase a meaning worth- perhaps-then he'd intended" (9.13-15)."
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Twelve-Step Program to Escaping Dante?s Hell, 2002.
A comparison of the hell described in Dante's "The Inferno" to the twelve-step program required by an alcoholic to pass by AA.
3,585 words (approx. 14.3 pages), 9 sources, MLA, $ 100.95
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Abstract
Dante?s "The Inferno" paints an incredibly vivid picture of what Hell is like. The journey Dante undertakes in order to progress pass his ?lost? stage and escape Hell can be likened to the 12-Step Program a recovering alcoholic must complete in order to finally escape from the clutches of drinking to excess. This paper explores Dante?s journey through the perspective of this 12-Step Program. By going through each step, one can witness the introspective and emotional self-examination Dante goes through, with a little help from his support group, in order to get out of Hell.
From the Paper
"The first step that every recovering alcoholic must take involves the process of admitting his or her problem. Alcoholics must acknowledge that they are helpless when battling their addiction and they must admit that this addiction to drink has wreaked havoc on their lives to the point where they have lost control (Alcoholic Anonymous, 1955, 59). Dante?s predicament is no different to that of an alcoholic struggling to regain control over his or her life. At the beginning of the poem, Dante is portrayed as having gotten lost on the path of life and trying to get back on the right path. Using imagery, Dante recalls that ?in the middle of his life, he [finds] himself lost in a dark forest, having lost the right path while half asleep.? "
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A. Dante's "Inferno", 2006.
This paper discusses the concepts of crime and punishment as presented in Dante's "Inferno".
1,240 words (approx. 5.0 pages), 1 source, MLA, $ 42.95
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Abstract
This paper explains that, in the "Inferno", Dante states that people are evil and cannot change and that the punishment people receive is fitting to their crime. The author disagrees with Dante and believes that punishing people in a way that is fitting to the crime will only work to reinforce the kind of behavior that led to the crime and will lead to people being defined by their crimes thus reinforcing the idea that people cannot change. The paper stresses that a system, such as Dante's, where the punishment fits the crime does nothing to make the person be responsible for their own actions.
Table of Contents:
Crime and Punishment in Dante's Era
Crime and Punishment Today
From the Paper
"In the Inferno, Dante travels through the ten levels of hell. In each level, he sees people that have been guilty of certain crimes. In each case, the people are being punished in a way that is fitting to their crime. The people who sinned via wrath are seen to be attacking each other. The thieves have been turned into snakes. The people who committed suicide have to spend their lives as trees. This suggests that people do not change. In this way, a person who does wrong is seen as evil with this not able to be changes. With this belief, there is no suggestion that people can learn from their mistakes and become better people. The punishments describe also suggest that people will continue to act as they did on earth if they are given freedom."
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Dante and Catholicism, 2007.
This paper examines the treatment of the Catholic faith in Dante's work.
1,642 words (approx. 6.6 pages), 3 sources, MLA, $ 53.95
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Abstract
In this article, the writer studies the writings of Dante Alighieri and notes that he makes comment of the current political and religious world in which he lived. The writer points out that in so doing, Dante created a likely unintended controversy, with regard to the way in which things were done in the church and politics. Further, the writer notes that Dante disagreed with this in many ways, but attempted to pacify this controversy through his works, especially with his 'Inferno'. The writer concludes that through Dante's inclusion of many ideals and standards of his faith, some have seen his works as spiritual and worthy quests, yet his emphasis on self-determination and self-judgment was contrary to the validity of the central authority of the Catholic faith, regardless of his desire to embrace it.
From the Paper
"Dante, traced his own personal economic and political trials through his experiences in a system, not unlike that described by his Catholic faith, and yet in so doing he must have known that he would challenge the Catholic ideal of centralized authority and power. Though some say his intention was to make sense of his problems and his seeking of salvation through this exercise with no intention of harming his faith or its standards but he hesitated in his debates, as if uncertain that he held any or all of the answers he was seeking in his pilgrimage of the mind."
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Dante's "Purgatoria", 2002.
An explanation of the theology of Dante's "Purgatoria" or purgery.
2,224 words (approx. 8.9 pages), 3 sources, MLA, $ 69.95
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Abstract
This paper anlyzes Dantes "Purgatorio". Dante?s Divine Comedy depicts three possibilities of life after death: Inferno, or Hell, where the unsaved spend eternity, Purgatorio or Purgery, where the saved who still have some sins to account for go, and finally Paradiso, or Paradise, the final destiny of the faithful. The Canto?s of each possibility are told through the viewpoint of Dante and Virgil, who make the journey together. The discussion that follows is focused on the insights and meaning derived from the two artists? journey through Purgatorio.
From the Paper
"The main, spiritual meaning of Purgatorio focuses on the fact that it is a transitory state between the death of the body and the spirit?s ascendance to heaven. In contrast to Inferno, the souls doing penance here have the hope of its end and of their final admission into paradise. The atmosphere in this place also substantiates the feeling of hope. The souls here are praising and worshiping God. The joyous atmosphere is further substantiated by the four holy stars that Dante sees when entering Purgatory. These symbolize virtues rather than sins."
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Dante's "Inferno": The Structure of Hell, 2005.
A brief look at Dante's Alighieri's Inferno and the structure of hell that he describes in the story.
742 words (approx. 3.0 pages), 0 sources, MLA, $ 26.95
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Abstract
Dante Alighieri's "The Comedy "is one of the most recognized pieces of literature in the modern world. Dante completed the first of the three books contained in "The Comedy" in 1314; "Divine" was not added to the title until much later. The other two books, "Pergatorio" and "Paradisio", would soon follow. But it is "Inferno" that brings forth imagery so intense that it has seldom been rivaled. This paper takes a look at Dante's "Inferno", specifically his description of the different levels of hell.
From the Paper
"As the story advances we begin to see with much more clarity Dante's structure of Hell. Descending down through the lower circles of Hell, Virgil shows Dante the increasing brutality of the punishment. Until the fifth circle, Dante is still in the upper section of Hell. In this segment the penalties seem almost tolerable, considering what is witnessed later on. In the first circle, which houses the un-baptized infants and virtuous Pagans, the inhabitants merely pine away in a state of melancholy, a world of desire without hope. While this would be enough to drive anyone mad, especially such great thinkers as Plato and Socrates who are witnessed there, this is but a day in the park when compared to the constant torture of the residents of the lower levels of Hell."
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Dante and Milton, 2005.
This paper serves as a comparative essay regarding the lives of writers Dante and Milton.
675 words (approx. 2.7 pages), 4 sources, $ 26.95
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Abstract
This essay compares and contrasts the classic poets, Dante Alighieri and John Milton. It first details the time periods during which each lived, Dante in the medieval era and Milton in the Renaissance. The writer looks at the similarities and differences in their lives. Then the essay takes a short look at Dante's 'Inferno' and Milton's 'Paradise Lost' to further see issues on which they thought alike, despite the time and geographic differences between them.
From the Paper
"In these modern times, this modern era of literature and thought, it is easy to lump all ancient writing together. Chaucer, Milton, Dante, even Shakespeare, are so long dead that they all seem to have come from the same distant, canonized, unreachable time. Yet, each of these old writers lived in his own time and wrote for his own reasons about specific and relevant themes. This essay looks at Dante Alighieri and John Milton, two famous writers from differing time periods and differing circumstances. A work from each writer, Dante's 'Inferno' and Milton's 'Paradise Lost', each similar in theme, will be studied in order to better compare and contrast these two heroes of Western literature. Dante Alighieri came from medieval Florence, Italy. Born in 1265 to a family of money, Dante was raised within Florence's intricate political network."
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Dante's "Inferno", 2008.
Presents writer's reasons for agreeing with Dante's placement of illicit heterosexual relationships as one of the least serious sins in his "Inferno".
869 words (approx. 3.5 pages), 4 sources, MLA, $ 30.95
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Abstract
This paper analyzes Dante's view in making illicit heterosexual love the least of the serious sins in Hell in his "Inferno" and then presents the writer's opinion of Dante's arrangement. The writer bases his opinion on reasons based on Catholic theology, the mitigating circumstances in the case of at least two of the people he meets and Dante's own confessed susceptibility to a kind of literary seduction.
Table of Contents:
Outline
Argument
From the Paper
"Dante's vulnerability to a similar seduction: The same modern writer who suggested that Francesca may be considered partly a victim also noted that "her account of her seduction by literature might be taken as a veiled confession of a similar susceptibility on Dante's part" (Pinsky xiii). That is to say, Paolo and Francesca's reading in a book about another famous adulterous affair (that of Lancelot and Guinevere) may have influenced them to commit their own sin. Commenting on the Fifth Canto in general, the writer goes on to state that "the damned in Dido's train bear witness to the power of literature more than to the irresistibility of love" (Pinsky 313). Dante's own recognized vulnerability to the strong influencing power of literature may have inspired him to treat other victims of this power more lightly than another writer would have."
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Dante?s ?Divine Comedy?, 2004.
This paper discusses the arts within Dante?s ?Divine Comedy?.
3,020 words (approx. 12.1 pages), 1 source, MLA, $ 88.95
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Abstract
This paper explains that Dante uses the essence of art throughout the ?Divine Comedy? through his use of symbols, even as he is utilizing the themes of structure and the heroic journey. The author points out that Dante uses light and shadow, which is known as chiaroscuro, to portray a sense of emotional content and to depict sin and redemption or the possibility of redemption. The paper relates that Dante employs the color green to symbolize nourishment, hope, joy, and growth and uses gold as the color of the sun and leadership.
From the Paper
"The common view of Hell is a dark place where sinners are to burn for all eternity. This view is found numerous times in the Bible, with Christ referring to the fires that are never quenched in the New Testament. The first part of the "Divine Comedy" is "The Inferno". It is the story of his journey through the nine levels of Hell. The structure of Hell, as Dante has envisioned it, corresponds to a moral hierarchy, or levels of 'sin'. The physical structure reflects the spiritual beliefs of the time, which is considered the ultimate truth."
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Dante and Jesus Compared, 2005.
Comparison/contrast of the journeys of Dante in his "The Divine Comedy" and Jesus from the "Gospel of John."
2,654 words (approx. 10.6 pages), 6 sources, MLA, $ 79.95
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Abstract
Dante's "The Divine Comedy" and the "Gospel of John" are two texts that emphasize the way to heaven. This paper shows how Dante takes us on an imaginary journey through hell, which is filled with vivid images and characters. These images are tools that Dante is using to convince us that hell is not a place that we want to end up--especially forever. The paper also shows how the "Gospel of John" is persuading us to turn to heaven by recognizing who Jesus is. According to John, this is the only way that mankind can reach heaven.
From the Paper
"John was a disciple of Jesus and the brother of James. Critics believe that John was the youngest son of Zebedee. John probably grew up like most Jewish children and when he grew up, he "followed the occupation of a fisherman on the lake of Galilee" (Bryant 349). Bryant maintains that the disciple John was heavily influenced by John the Baptist, who began his public ministry in Judea. When the disciple John heard John the Baptist say, "Behold the Lamb of God," (349), he immediately became a disciple and "ranked among his followers" (349). After this occasion, John and his brother returned to fishing until Jesus called them. After this calling, John and James "'left all and permanently attached themselves to the company" (349) of Jesus. John became one of the innermost circle and he was a disciple whom Jesus loved. John and Peter were the only two that followed Jesus after Judas' betrayal. The other disciples fled in fear. At Jesus' trial, John was the disciple that followed Jesus into the council chamber and the praetorium. John was also present when Jesus was crucified. In addition, after the crucifixion, Jesus appeared to John and Peter frequently."
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