It is a fact beyond suspicion that literature is the reflection of life, and depicts the thoughts and views of the authors and narrates their beliefs in a vivid manner. Hence, being visionary intellectuals, the poets, authors, painters, sculptors and artists make the tales of…
In addition, trip to the afterlife provides a spiritual fortification and moral uplift, which realizes the mortal man his duties and obligations towards the divinity and fellow beings while his temporary stay on the earth, so that readers can make amends in their behaviors and realize that they are responsible for the deeds they are performing; Homer’s journey of the land of gods in his illustrious Odyssey, John Milton’s depiction of heaven and hell in Paradise Lost, William Blake’s experiences of seeing God and angels in Songs of Innocence and Dante’s Inferno reflect and present the imaginary idea of world hereinafter imitated and followed by these authors in their practical life, which vehemently force the readers to protect themselves from sinful life, as they will have to harvest the crop of their deeds and misdeeds in the afterlife. Dante’s trip to afterlife and depiction of the circles of hell concentrates upon the same motif.
Dante’s Inferno describes that his journey starts from Good Friday, when the poet sets out on his trip and comes across ancient writers, poets, politicians, philosophers and religious people during his visit of hell. Here the poet points out the reasons that lead the people towards the wrath of God i.e. in hell, which are based on Biblical stories and set of belief indicating specific reprimands and penalties against particular sins.
Since, Dante’s journey to the hell serves as the part his perception of religion and Scriptures, which is related to the sinners’ fate in afterlife, so his trip starts from first to nine circles, as has been narrated in the Old and new Testaments. The Inferno’s protagonist character finds renowned Roman poet of B.C. era i.e. Virgil as his guide, who leads him towards different circles. (Canto I, Lines 47-61) Being non believer of Christ, but ...
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The relationship between the two figures is pivotal. Virgil stands in as a symbol of reason as much as Dante stands for humanity. Virgil explains everything to Dante along the way, showing him the path through hell and letting him in on the true terrors of the place.
According to the author, one does not realize the intensity of one’s mistakes unless and until one is transformed. The opening sentences of this article “to know how hard the wind is blowing one must sail against the wind. To measure the force of a stream one must swim against its current” makes it clear (2).
It is therefore the poet maintains feelings of sympathies and remorse for the few people burning into the flames of Inferno, while he is delighted on finding some individuals at such a horrible dwelling. Similarly, Dante also takes pity on a group of people because of their miserable plight.
Ulysses is also called Odysseus in Homer’s poem called odyssey. This epic poem explains Odysseus’ long journey from the Trojan War through his way home. Homer states that Odysseus had one more journey to make after arriving but he does not explain whether the Odysseus went for it.
The Hell that Dante constructs contains nine levels or circles and each circle constitute a different sin and therefore a different suffering. The sufferings of the sinners in each circle of Hell are a contrapasso meaning that the suffering of the sinners is justice of the sin that they commit on Earth.
A Pilgrim's Progress begins with a Bunyanesque Christian sensibility, but with a greater deliberation not just towards Salvation, but he makes manifest the reality of the sin through the law of retribution. The topographical structure of Dante's hell is also of major value, since Inferno occupies the cone-shaped abyss formed at the moment of Lucifer's fall.
The primary theme of the poem is sin and punishment. Every sin committed has its corresponding consequence as it was emphasized in the contrapasso which demonstrated that connection between sin and punishment (Reverius 2002). Canto I
These two factions came to respectively represent, the party of the Pope and the Emperor meaning that during this time the Italian cities sided behind the banner representing the Pope or the Emperor. In western
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