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Dante's inferno sins and punishments
Dante's inferno sins and punishments
Dante's inferno sins and punishments
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A Personalized Hell is More Effective
Hell has been described in many different texts, all explaining how Hell may be organized. There have been many examples in the Bible, myths, folktales, and music through out time. One example in particular is in Dante's, The Inferno, where hell is described as having many layers, which are categorized by individual sins, such as thievery, and are punished for an eternity. In Dante's model, more sin centered, a soul would be sent to a certain layer of hell for one sin that he had committed. However, perhaps a more personalized Hell, sinner-centered, that deals with each sinner individually for each sin committed and its severity, would allow for people to be punished more effectively.
In each specific section, people are punished for one sin in the same manner. This does not compensate for the severity of the sin itself. The people are punished in the same manner, despite the severity of their sin, such as thievery. For example, those who committed thievery are condemned to a pit of serpents, as Dante describes, "Serpents—of weird kinds….people were running, naked and terrified, without a hope of hiding or a chance at heliotrope for safety," (Dante, 201). All of the thieves are tortured by the same serpents in the same way. None are punished more severely if they had robbed a poor family to buy a new car, as opposed to stealing a loaf of bread to feed a family. This is an example of why a more personal model is needed, so that people can be punished according to the severity of their sin, as opposed to just the sin itself.
Furthermore, the model that Dante describes does not take into account multiple sins. Again, his model concentrates on the idea of the sin, not ...
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..., a thief that stole to feed his family would not be punished as harshly as one who stole to buy a new car. A personalized hell would suffice for multiple sins, as well as severity, by creating a more sinner-centered environment where people are punished for what they did, not just their sin.
There are many different ideas about how Hell should be organized; however, the idea of a personalized hell seems to capture all the sins and guarantee proper punishment. Dante's layered Hell appears to be focused on certain sins, and some people are not punished for all of the sins they have committed. It also does not allow for people to be punished for the severity of their sin, they are just punished. The more personalized hell would allow for sinners to be punished in a manner that would encase all of their sins.
Bibliography:
Dante. The Inferno.
Dante went through each level of hell with his guide the poet Virgil starting from the top, from the sinners whose punishment was not as bad as the last level of Hell. To show , from high to low it was first, limbo in which the sinners in which did not sin, but were never baptized. Secondly, lust the sinners who have a sexual desire and were punished by have winds pushed them back and forward. Thirdly, Gluttony, here the sinners who are selfish suffer day and night in
In most ancient literature some sort of divine justice is used to punish people's acts in life. This is that case with Dante's Inferno, where the Author categorizes hell in 9 circles. Circle 9 being the lowest sins and punishments as the circles decrease. From the time this was written to now in days many things have changed, and things are not seen the same no more. Back then sins like greed and gluttony were ranked as high sins but now people would probably rank those very low with other things like murder way on top. Yet the basic structure set by Dante remains.
In Dante’s Inferno, Dante takes a journey with Virgil through the many levels of Hell in order to experience and see the different punishments that sinners must endure for all eternity. As Dante and Virgil descend into the bowels of Hell, it becomes clear that the suffering increases as they continue to move lower into Hell, the conical recess in the earth created when Lucifer fell from Heaven. Dante values the health of society over self. This becomes evident as the sinners against society experience suffering greater than those suffer which were only responsible for sinning against themselves. Dante uses contrapasso, the Aristotelian theory that states a soul’s form of suffering in Hell contrasts or extends their sins in their life on earth, to ensure that the sinners never forget their crimes against God. Even though some of the punishments the sinners in Hell seem arbitrary, they are fitting because contrapasso forces each sinner to re-live the most horrible aspect of their sin to ensure they never forget their crimes against God.
In analyzing this gradient of morality, it is useful first to examine a work from early literature whose strong purity of morality is unwavering; for the purposes of this discussion, Dante’s Inferno provides this model. It is fairly straightforward to discover Dante’s dualistic construction of morality in his winding caverns of Hell; each stern, finite circle of Hell is associated with a clear sin that is both definable and directly punishable. As Dante moves downwards in this moral machination, he notes that
Hell is like a government. The bureaucracy is, of course, run by their “Father Below” who is Satan (Lewis 6). In other words, the system is a dictatorship. Additionally, the demons in Hell think that they can only “advance at the expense of another” (Schultz 368). Hell was not the intention God had when He gave His people free will, but it was rather a side effect (Hill and Smith). Hell was a consequence for what Satan and his followers tried to do. God created Hell for everlasting punishment (Matthew 25:46). In return, Satan and his followers have devoted themselves to corrupt societies so it is easier to tempt those societies (Schultz 368). This consequence had eternal effect on everyone including God and His angels (Hill and
My idea of Hell would not be a permanent destination, but rather a place of rehab where someone’s soul could be changed. From experience, I know that when someone dies, their body is placed in a casket and buried in the ground. It is doubtful that there is a system in which the body is removed from the casket and escorted to Hell. With this in mind, my hell would only consist of the souls of those who have passed on.
The first thing you would notice is the overall irony of Hell itself. As mentioned, most people have a view that Hell is very chaotic and in disarray. However, In Canto IV we find out that Hell is actually very organized. The structure of it is in fact “a great funnel-shaped cave… with its bottom point at the Earth’s center. Around this great circular depression runs a series of ledges, each of which Dante calls a CIRCLE.” (Alighieri 25). Most pictures you see of hell show images of very distressed people and demons running around in turmoil. They are usually all over the place and no sense of organization is apparent. There is also a map of hell that Dante has drawn in order to give us a clearer image of what Hell supposedly looks like (Alighieri 26). Through this we find that Dante has applied his use irony into the very structure of Hell. We also see that the people we thought were myths actually exist – in Dante’s eyes. Scattered throughout the book, we see several mythological characters that have indeed descended into Hell. On...
One of the first punishments we observe comes from the fifth circle of Dante’s hell, the wrathful and the sullen, as the author expresses his thoughts of the fitting consequence with each sin. This portion of the text begins in the seventh canto and in it the punishment of those who lived in wrath are discussed, when Dante and Virgil first enter the circle they see a marsh containing people who endlessly beat upon each other the idea being that because they lived their lives in wrath they will live out their eternity with pure hatred for any soul they may encounter. Also addressed in this circle is the punishment for those who lived their life in a sullen manner, ignoring the goodness that the world around them contained. “‘Sullen were we in the air made sweet by the sun; in the glory or his shinning our hearts poured a bitter smoke. Sullen we begun; sullen we lie forever i...
Dante is undoubtedly biased in his punishments and rankings of his sins as a result of his personal thoughts and experiences. Although some of his punishments are fairly reasonably and match the crime, there are also some circles that are in the wrong order and have unjustified punishments. A few of the circles that are the most disagreeable include limbo, the lustful, violence against self, and complex fraud. These specific circles are disagreeable because Dante ranks them based on his own experiences and thoughts. Hell could also be redesigned in a completely different way to make it more reasonable. Dante’s divine comedy has some major biased within it, making the sins and punishments arrangements arguable, and able to be completely redesigned.
Dante Alighieri presents a vivid and awakening view of the depths of Hell in the first book of his Divine Comedy, the Inferno. The reader is allowed to contemplate the state of his own soul as Dante "visits" and views the state of the souls of those eternally assigned to Hell's hallows. While any one of the cantos written in Inferno will offer an excellent description of the suffering and justice of hell, Canto V offers a poignant view of the assignment of punishment based on the committed sin. Through this close reading, we will examine three distinct areas of Dante's hell: the geography and punishment the sinner is restricted to, the character of the sinner, and the "fairness" or justice of the punishment in relation to the sin. Dante's Inferno is an ordered and descriptive journey that allows the reader the chance to see his own shortcomings in the sinners presented in the text.
This notion of the suitability of God’s punishments figures significantly in the structure of Dante’s Hell. To readers, as well as Dante himself (the character), the torments Dante and Virgil behold seem surprisingly harsh, possibly harsher than is fair, Dante exclaims this with surprise. He doesn’t actually wonder who decided on these tortures. He knows it was god. What he is questioning is how these punishments are just, since they don’t appear to be just from a human’s point of view which views each punishment together with its conjugate sin only superficially. For example, homosexuals must endure an eternity of walking on hot sand, and those who charge interest on loans sit beneath a rain of fire. At first glance, each one seems too terrible for any sin. However, when the poem is viewed as a whole, it becomes clear that the guiding principle of these punishments is one of balance. Sinners suffer punishment to the degree befitting the gravity of their sin, in a manner matching that sin’s nature. The structures of the poem and of hell serve to reinforce this correspondence.
As mentioned above, the structure of Hell is determined by the sins people commit during their lifetime (the specific morals people disobey) and how ‘bad’ these sins are considered to be (within their respective divisions). The sins being described in The Inferno abide by the rules written for the Catholic religion in The Bible, which is why The Inferno is often viewed as a religious text. This explains why Aristotle and Dante would disagree on a few key points of what it means to be virtuous. Aristotle is adamant about not having excess nor deficiency and rather finding a middle ground (mean), whereas Dante abides by the virtues laid out in The Bible. Hell usually personifies what would be considered excessive rather than deficiency in Aristotle’s code of ethics because of its background in the Catholic religion. One example of this exists with humility. In the Catholic context, humility stands a virtue that is praised in The Bible (and therefore Inferno) whereas in Nicomachean Ethics humility is a vice to be looked down on. This continues to be the case with many different excesses and virtues for
Despite the obvious flaws of Dante himself, he does give a clear vision of how punishments will be taken forth in the afterlife. He gives reason to fear and respect the law of God lest eternal punishment be your only promise in the afterlife. These punishments are as relevant as can be, so he offers a very vivid picture of hell. The men that he puts in hell give it a realistic twist, enhancing the fear that is felt upon reading this work
Dante had access to these teachings and uses them to relate to the reader in a more straightforward way of why there is delineation. In this function Aristotle is not the agent of knowing, but rather a way to relay the reasoning and rationale behind God’s judgment; in this way God is not limited by Aristotle. Dante’s Inferno presents the reader with many questions and thought-provoking dialogue to interpret. These crossroads provide points of contemplation and thought. Dante’s graphic depiction of hell and its eternal punishment is filled with imagery and allegorical meanings.
Inferno, the first part of Divina Commedia, or the Divine Comedy, by Dante Alighieri, is the story of a man's journey through Hell and the observance of punishments incurred as a result of the committance of sin. In all cases the severity of the punishment, and the punishment itself, has a direct correlation to the sin committed. The punishments are fitting in that they are symbolic of the actual sin; in other words, "They got what they wanted." (Literature of the Western World, p.1409) According to Dante, Hell has two divisions: Upper Hell, devoted to those who perpetrated sins of incontinence, and Lower Hell, devoted to those who perpetrated sins of malice. The divisions of Hell are likewise split into levels corresponding to sin. Each of the levels and the divisions within levels 7,8, and 9 have an analogous historical or mythological figure used to illustrate and exemplify the sin.