Chapter 5: The Grand Inquisitor
"EVEN this must have a preface -- that is, a literary preface," laughed Ivan, "and I am a poor hand at making one. You see, my action takes place in the sixteenth century, and at that time, as you probably learnt at school, it was customary in poetry to bring down heavenly powers on earth. Not to speak of Dante, in France, clerks, as well as the monks in the monasteries, used to give regular performances in which the Madonna, the saints, the angels, Christ, and God Himself were brought on the stage. In those days it was done in all simplicity. In Victor Hugo's Notre Dame de Paris an edifying and gratuitous spectacle was provided for the people in the Hotel de Ville of Paris in the reign of Louis XI in honour of the birth of the dauphin. It was called Le bon jugement de la tres sainte et gracieuse Vierge Marie, and she appears herself on the stage and pronounces her bon jugement. Similar plays, chiefly from the Old Testament, were occasionally performed in Moscow too, up to the times of Peter the Great. But besides plays there were all sorts of legends and ballads scattered about the world, in which the saints and angels and all the powers of Heaven took part when required. In our monasteries the monks busied themselves in translating, copying, and even composing such poems- and even under the Tatars. There is, for instance, one such poem (of course, from the Greek), The Wanderings of Our Lady through Hell, with descriptions as bold as Dante's. Our Lady visits hell, and the Archangel Michael leads her through the torments. She sees the sinners and their punishment. There she sees among others one noteworthy set of sinners in a burning lake; some of them sink to the bottom of the lake so that they can't swim out, and 'these God forgets'- an expression of extraordinary depth and force. And so Our Lady, shocked and weeping, falls before the throne of God and begs for mercy for all in hell- for all she has seen there, indiscriminately. Her conversation with God is immensely interesting. She beseeches Him, she will not desist, and when God points to the hands and feet of her Son, nailed to the Cross, and asks, 'How can I forgive His tormentors?' she bids all the saints, all the martyrs, all the angels and archangels to fall down with her and pray for mercy on all without distinction.
Dante's and Virgil's scorn seems at first glance to echo the sin of intemperate anger which infects the foul waters of the Stygian marsh. Filippo Argenti, the weeping sinner who emerges from the mire, is eternally punished for his anger. However, the pilgrim's denunciation of Filippo is not only permitted, but lauded by Virgil with the praise given Jesus: "Blessed is the womb that bore thee!" (VIII, 43-44) Even the pilgrim's further, seemingly sadistic request to see Filippo attacked by his brethren is granted and accepted as appropriate. This seeming discrepancy in behavior can be reconciled by understanding the underlying motivations of the speakers. The pilgrim and Virgil travel with Divine sanction through Hell. The pilgrim's entire being learns to become entirely subject to the will of God. Virgil's journey is in obedience to the three angelic women who are Dante's patronesses: Our Lady, St. Lucia and Beatrice. However, Filippo Argenti is described by Virgil as "full of arrogance" (VIII, 46) Filippo Argenti's primary concern is Filippo Argenti. The essential element that separates the pilgrim from the sinners in the marsh is his subservience to God. Due to their divergent natures, the treatment of Filippo Argenti by the pilgrim and Virgil reflects the supreme triumph of the righteous over evil and serves as a warning to the reader.
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
Descending from the first to the second level of Hell, Dante witnesses the transition to greater agony and greater punishment for the damned. Overwhelmed by the sinner’s harrowing cries and the extensive list of seemingly innocent souls given to him by Virgil, Dante beckons for two lovers to approach him, desperate for some sense of comfort. The souls are known to be the historical figures Francesca de Rimini and her lover Paolo, forever trapped in the circle of lust due to their sinful adultery. Through her words spoken to Dante, Francesca shows how she feels she has been unjustly punished and is deserving of others’ sorrow, and Dante, despite his awareness that she is a sinner, pities her. A close reading of this passage is necessary to better understand Dante’s internal battle with showing compassion where it is not deserved and Francesca’s incessant denial of her sins.
Throughout history, the rise and fall of empires in Europe had become so prevalent that it was hardly a surprise anymore. There were a great deal of changes in rulers, land ownership, and religion in all the areas of Europe. The area that I plan to focus on is Afro-Eurasia between the times of 300-600 CE. During this time, new borders were made, religions were traded from area to area, and new empires came to be.
Religion reinforces the beliefs of individuals within a society. Additionally, religion has played a vital role in society since it influenced the way they lived and the rituals they may or may not have practiced. Different regions of the world during ancient time held a distinct set of beliefs, each based on different or similar principals. Deriving from the polytheistic set of beliefs, monotheism came in place of many Gods, holding just one god accountable for the creation and the existence of mankind. Christianity and Buddhism share similarities and differences, but most importantly the impact that each had on the culture is what is mostly referred to.
As in many parts of the ancient world, the people living in the Rus lands worshiped Pagan gods for thousands of years. Christianity became an influence on the Rus via the Byzantine Empire and the Kievan Rus state around 800 CE. The Byzantine Empire was the largest empire in the world in the 800s and 900s and the official religion of the Byzantines was Orthodox Christianity. The Byzantines' global influence was extraordinary but Kiev's (the Rus capital) close proximity to the Byzantine capital Constantinople added even more influence and pressure to the Rus than most places. Olga, who was ruling the Kievan Rus state as regent, officially converted to Christianity in 945 CE. Olga's gender and status as regent did not allow for Christianity to spread in the Rus state but for the first time churches and missionaries from Constantinople were allowed to stay in Kiev. (Notes from Kovalev class, 9/24/13) Olga's grandson Vladimir became the Grand Prince of the Rus from 980 to 1015. Vladimir felt there was a need to unite all of the diverse Rus tribes under one cultural and religious orientation. Vladimir invited representatives from several religions such as Judaism, Islam, Catholicism, and Orthodox Christianity to try and convert him and the Rus to their respective religions. The obvious choice for Vladimir was Orthodox Christianity from the Byzantine Empire. Constantine was a close neighbor to Kiev. Converting to Orthodox Christianity opened up trade and political options for the Rus that they never had before. The Rus and the Byzantines became trading partners and uneasy allies which helped the Rus kingdom stabilize and grow in the years to come. (Zenkovsky, 66)
Christianity has evolved over several centuries into three major branches, and from there they have been further divided into numerous denominations. The branches are Roman Catholicism, Eastern Orthodoxy, and Protestantism. Roman Catholicism is headed by the Pope and is known for several distinctive beliefs and practices that set them apart from the rest of Christianity. Eastern Orthodoxy is not one united church; instead it is an association of thirteen self-governing bodies denominated by the nation where they are located. Each church is headed by a Patriarch. The Patriarch of Constantinople is recognized as the universal patriarch, he is the closest counterpart to the Roman Catholic’s Pope, he enjoys special honor but has no real power the
‘What bliss will fill the ransomed souls, when they in glory dwell, to see the sinner as he rolls, in quenchless flames of hell’? (Isaac Watts). In the bible of Puritan times, the subject of hell was unavoidable. Sin and hellfire were also the dark and twisting theme for many writers back in the Puritan age of witches and the urgency for sin redemption for cross over from life to death.
Pope chose to utilize the heroic couplet to trivialize this mock- epic “But when to mischief mortals bend their will, how soon they find it instruments of ill!” (3. 53-54). He also employs in many instances, historic allusions to give the poem a serious feel “Fear the just Gods, and think of Scylla's fate! chang'd to a bird, and sent to flit in air, she dearl...
...ards monstrous figures and sympathy towards those who seem to be tortured unjustly. In his perverse education, with instruction from Virgil and the shades, Dante learns to replace mercy with brutality, because sympathy in Hell condones sin and denies divine justice. The ancient philosopher Plato, present in the first level of Hell, argues in The Allegory of the Cave that truth is possible via knowledge of the Form of the Good. Similarly, Dante acquires truth through a gradual understanding of contrapasso and the recognition of divine justice in the afterlife. Ultimately, Dante recognizes that the actions of the earthly fresh are important because the soul lives on afterwards to face the ramifications. By expressing his ideas on morality and righteousness, Dante writes a work worth reading, immortalizes his name, and exalts the beliefs of his Christian audience.
Moreover, Dante, the narrator of the Inferno, has succeeded in not only telling the frightening story of the Inferno, but also pointing out the importance of the relationship between human’s sins and God’s retribution, using the monsters as the symbols for each kind of sin and its punishment throughout the progress of the story, which teaches his readers to be well aware of their sins through the literature – a part of humanities; the disciplines that teach a man to be a human.
There was a man by the name of Thomas of Elderfield who had a life full of ups and downs, but who never lost his faith in Christianity. He came from a poor family and worked his way up the social ladder to a successful business man. This climb up the social ladder was beneficial to him, but soon led to trouble as he attracted a suitor. After several years of infidelity with the suitor, Thomas’s conscious got to him and he discontinued seeing the married woman. His faith in God kept him from returning to her despite her repeated attempts at pulling him into sin. Thomas could not live with the weight of the sin on his shoulders so he went to a priest to confess what was causing him anguish and repent for his sins. “Eventually God's grace intervened and remorse stung him; so he presented himself to a priest and took his healthy advice to do proper penance for his offence,” (Malmesbury, par. 2). The woman remarried a man named George years after her first husband had passed away. In time George found out about his new wife’s previous infidelity...
Inferno is the first and most famous of a three part series by Dante Alighieri known as the Divine Comedy that describes his journey to God through the levels of Hell, Purgatory, and Paradise written in the early fourteenth century. Scholars spanning over nearly seven centuries have praised its beauty and complexity, unmatched by any other medieval poem. Patrick Hunt’s review, “On the Inferno,” states, “Dante’s extensive use of symbolism and prolific use of allegory— even in incredible anatomical detail—have been often plumbed as scholars have explored the gamut of his work’s classical, biblical, historical, and contemporary political significance” (9). In the story, each of the three main characters, Dante, Virgil, and Beatrice, represent
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. Examining one of these cruxes of why there is a rift in the pits of hell, can lead the reader to interpret why Dante used the language he did to relate the Idea of a Just and perfect punishment by God.
Pretty much as should be obvious paradise in light of the fact that his face clouds her view, her point of view of hellfire is bound to being without him. In the event that she were spared and he were lost, then she would be in damnation without him, and on the off chance that they were both spared, yet spared separated, then that would likewise be hellfire. In splendid quest for the finish of this radical contention, which has become perpetually unthinkable as she pursues it, she enthusiastically declines to trust that there is an option where they are both spared together or both denounced. The last stanza acts basically like the last couplet of a piece, completing the contention, however leaving an inquiry for the peruser to consider. On the other hand, even as she shuts the contention, it opens up a bit, in light of the fact that in this sadness she has discovered a sort of sustenance, however under supporting it is. There is something sacred about this sort of despondency, and "white" appears to be additionally to be "brilliant," as though in losing her desire for life following death, she has discovered another natural dedication to supplant it, and after that raised it to divine