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In both The Aeneid and Inferno, Queen Dido of Carthage falls victim to predestined damnation. On the one hand, Virgil sees Dido as a notable queen who has fallen victim of fate's fickle nature. On the other hand, Dante Alighieri depicts Queen Dido as nothing but a treacherous creature. Within Dante’s Inferno, more importance is given to Dido’s lustful facet than to the fact that she committed suicide, and should therefore, be in the seventh circle of hell. Though Virgil and Alighieri existed in different time periods, both authors made of queen Dido the embodiment of women as a whole: a representation of lust. In other words, queen Dido represents the notion that women are responsible for the fall of humankind. Because of her lust, Dido manages
to sabotage her life by allowing sinful desire to take control of her mind. In the Aeneid, Dido’s intent to remain faithful to the memory of her husband is tampered by Aeneas’ arrival. From that moment forward, the character of a notable queen is figuratively and physically, reduced to ashes. Despite her success building Carthage from the ground up, queen Dido went from being a prominent queen who an entire city depended upon, to a feeble woman that was lured into committing suicide. Though the Gods were directly responsible for Dido’s misfortune, it is of critical importance to note that queen Dido is made out to be responsible for her own destiny. Because of her, Aeneas’ journey was interrupted, and her city was left to fend for itself.
Not only does Virgil present women as completely vulnerable to their emotions, but he also shows the problems that arise when these women engage in decisions where they put their own feelings ahead of their people. Virgil explicitly shows women neglecting important responsibilities when he describes passages concerned with Dido’s affair and her death, the Trojan women burning their own ships, Queen Amata’s opposition to Latinus’s proposal and her tragic death. Once Dido falls in love with Aeneas, Virgil uses a simile to describe the wound that Dido suffers from. The flame keeps gnawing into her tender marrow hour by hour, and deep in her heart the silent wound lives on. Dido burns with love—the tragic queen.
Lucretia and Dido are both viewed as ideal Roman women. The story of Lucretia is found in Livy’s Early History of Rome, while Dido is written about in The Aeneid by Virgil. By looking at Roman values, the story of Lucretia, the story of Dido, their similarities and differences, a background of Livy and Virgil, as well as the similarities and differences of Virgil and Livy’s views toward them, Dido and Lucretia can be seen as exemplary Roman women.
It is with the second circle that the real tortures of Hell begin. There lie the most heavy-hearted criminals in all of Hell, those who died for true love. Here, those who could not control their sexual passion, are buffeted and whirled endlessly through the murky air by a great windstorm. This symbolizes their confusing of their reason by passion and lust. According to Dante, ?SEMIRAMIS is there, and DIDO, CLEOPATRA, HELLEN, ACHILLES, PARIS, and TRISTAN? (Alighieri 57).
Both Virgil and Milton portray femininity and women as a threat to the divine higher order of things by showing women as unable to appreciate the larger picture outside their own domestic or personal concerns. For example, in the Aeneid, it is Dido, the Queen of Carthage, who out of all the battles and conflicts faced by Aeneas, posed to the biggest threat to his divinely-assigned objective of founding a new Troy. Like Calypso detains Odysseus in Homer's epic, Dido detains Aeneas from his nostos to his "ancient mother" (II, 433) of Italy, but unlike Calypso, after Dido is abandoned by Aeneas she becomes distraught; she denounces Aeneas in violent rhetoric and curses his descendents before finally committing suicide. Therefore, Virgil demonstrates how women have a potent and dangerous resource of emotions, which can ambush even the most pious of men. Indeed, Dido's emotional penetrate the "duty-bound" (III, 545) Aeneas who "sighed his heart ou...
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.
Dido was a very level-headed leader before Venus decided to interfere with her life. Venus wants to make sure that Aeneas will be safe at this stop by telling Cupid, “But now Phoenician Dido has him in her clutches, /holding him back with smooth, seductive words, /and I fear the outcome of Juno’s welcome here … /She won’t sit tight while Fate is turning on its hinge. / So, I plan to forestall her with ruses on my own / and besiege the queen with flames, /and no goddess will change her mood – she’s mine, / my ally-in-arms in my great love for Aeneas” (1.799-807). Venus’s love for Aeneas to succeed because he is her son caused her to blindly sabotage a woman’s life just because her son happened to be on her land. And this piece of evidence shows that Dido would not just abandon the good of her people for a fling with a man she hardly knows. Dido even says she promised to not love another man after her husband’s death, “If my heart had not been fixed, dead set against /embracing another man in the bonds of marriage – /ever since my first love deceived me, cheated me /by his death” (IV.19-22). Dido even though she is extremely passionate to the ones she loves she would not have considered loving Aeneas the way she did if it was not for Cupid’s influence on her emotions. And she is so distraught to feel these emotions for Aeneas even though she promised to not love another, “I pray that the earth gape deep enough to take me down /or the almighty Father blast me with one bolt to the shades, / the pale, glimmering shades in hell, the pit of night, / before I dishonor you, my consciences, break your laws” (IV.31-34). And Venus wanted to doom Carthage because it was the nation that Juno wanted to be great. Cupid has turned Dido into a woman frenzied by love, “Dido burns with love – the tragic queen. /She wanders in frenzy through her city streets /like a
Dido is portrayed as a strong and independent character through her successful founding and ruling of Carthage. However, Venus commands Cupid to “breathe [his] flame of poison” (I. 688) on Dido. Dido develops a passion that is “an unseen flame gnaw[ing]” (IV.2) at her. The flame illustrates the intense emotions Dido feels for Aeneas. Aeneas and Dido consummate their love in a cave, causing Dido to assume they are married. Unfortunately for Dido, Aeneas must follow his fate to Italy and leave Dido in Carthage. “Now [Dido] must called [Aeneas] guest instead of husband” (IV. 324). However, Aeneas declares he “never made a pack of marriage” (IV.339) with Dido. This fuels her hatred of him even more. Dido does not have the emotional stability to live without Aeneas. During his confession, Dido admits “hot madness” (IV.376) consumes her and the connections between fire and fury is
Many arguments have been made that Dante’s Inferno glimmers through here and there in Milton’s Paradise Lost. While at first glance the two poems seem quite drastically different in their portrayal of Hell, but scholars have made arguments that influence from Dante shines through Milton’s work as well as arguments refuting these claims. All of these arguments have their own merit and while there are instances where a Dantean influence can be seen throughout Paradise Lost, Milton’s progression of evil and Satan are quite different from Dante. Dante’s influence on Milton is noted by many scholars and is very apparent in several instances throughout Paradise Lost, however, Milton shows a progression of evil through his own vision of Satan and creates a Hell that is less meticulously constructed than Dante’s and more open to interpretation.
Although ancient Greece was a male-dominate society, Sophocles' work Antigone, portrays women as being strong and capable of making wise decisions. In this famous tragedy, Sophocles uses the characters Ismene and Antigone to show the different characteristics and roles that woman are typical of interpreting. Traditionally women are characterized as weak and subordinate and Ismene is portrayed in this way. Through the character of Antigone, women finally get to present realistic viewpoints about their character.
Dante’s work Inferno is a vivid walkthrough the depths of hell and invokes much imagery, contemplation and feeling. Dante’s work beautifully constructs a full sensory depiction of hell and the souls he encounters along the journey. In many instances within the work the reader arrives at a crossroads for interpretation and discussion. Canto XI offers one such crux in which Dante asks the question of why there is a separation between the upper levels of hell and the lower levels of hell. By discussing the text, examining its implications and interpretations, conclusions can be drawn about why there is delineation between the upper and lower levels and the rationale behind the separation.
In Dante’s Inferno, Dante is taken on a journey through hell. On this journey, Dane sees the many different forms of sins, and each with its own unique contrapasso, or counter-suffering. Each of these punishments reflects the sin of a person, usually offering some ironic way of suffering as a sort of revenge for breaking God’s law. As Dante wrote this work and developed the contrapassos, he allows himself to play God, deciding who is in hell and why they are there. He uses this opportunity to strike at his foes, placing them in the bowels of hell, saying that they have nothing to look forward to but the agony of suffering and the separation from God.
Dante’s The Divine Comedy illustrates one man’s quest for the knowledge of how to avoid the repercussions of his actions in life so that he may seek salvation in the afterlife. The Divine Comedy establishes a set of moral principles that one must live by in order to reach paradiso. Dante presents these principles in Inferno where each level of Hell has people suffering for the sins they committed during their life. As Dante gets deeper into Hell the degrees of sin get progressively worse as do the severity of punishment. With that in mind, one can look at Inferno as a handbook on what not to do during a lifetime in order to avoid Hell. In the book, Dante creates a moral lifestyle that one must follow in order to live a morally good, Catholic
The women in Othello are synonymous with Venetian societal standards. Only three women are characters in Othello: Desdemona, Emilia and Bianca but the roles these women play give the reader an idea of how women were portrayed, not only in Shakespeare's Othello but in society in general.
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
Minos, is the hell judge and agent of God's justice, he represents our own conscience and morality. When the sinners went to him, which caused us to look back on our own sins. His horrible treatment of the souls is significant as after Charon, he is one of the first figures who the people meet on their passage into deep down below, and his different method of saying which section of hell that the people should be sent to increase the terror and add to the atmosphere.