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Both Shakespeare’s King Lear and Dante’s Inferno explore the reasons for, and results of, human suffering. Each work postulates that human suffering comes as a result of choices that are made: A statement that is not only applicable to the characters in each of the works, but also to the readers. The Inferno and King Lear speak universal truths about the human condition: that suffering is inevitable and unavoidable. While both King Lear and the Inferno concentrate on admonitions and lamentations of human suffering, one of the key differences between the works is that Inferno conveys an aspect of hope that is not nearly as prevalent in King Lear.
Through Lear, Shakespeare expertly portrays the inevitability of human suffering. The “little nothings,” seemingly insignificant choices that Lear makes over the course of the play, inevitably evolve into unstoppable forces that change Lear’s life for the worse. He falls for Goneril’s and Regan’s flattery and his pride turns him away from Cordelia’s unembellished affection. He is constantly advised by Kent and the Fool to avoid such choices, but his stubborn hubris prevents him from seeing the wisdom hidden in the Fool’s words: “Prithee, tell him, so much the rent of his land comes to: he will not believe a fool” (Shakespeare 21). This leads to Lear’s eventual “unburdening,” as foreshadowed in Act I. This unburdening is exacerbated by his failure to recognize and learn from his initial mistakes until it is too late. Lear’s lack of recognition is, in part, explained by his belief in a predestined life controlled completely by the gods: “It is the stars, the stars above us govern our conditions” (Shakespeare 101). The elder characters in King Lear pin their various sufferings on the will of...
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... that explore the vastness of human suffering. However, though they both state that human suffering is unavoidable, there is a sense of levity in the Inferno that is absent in King Lear. The final message of King Lear implies the idea that human suffering is universal and that one’s choices not only cause one’s own suffering, but also invariably lead to the suffering of others. King Lear ends on a note of immense sorrow, while Inferno’s final message is a much more hopeful one, giving voice to the idea that the ubiquity of human suffering does not mean that all hope is lost. In Inferno, suffering is an aspect of the human experience, but not the only aspect, and it does not have to define one’s life.
Works Cited
Alghieri, Dante. The Divine Comedy, Volume I: Inferno. New York: Penguin, 2003. Print.
Shakespeare, William. King Lear. New York: Dover, 1994. Print.
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.
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.
Throughout Dante Alighieri's poem, Inferno and William Shakespeare's tragedy King Lear, the common theme of justice plays a critical role throughout both pieces of literature. Often depicting just and ironic punishments to fit the crime, both pieces focus on the eventual consequences of ones actions towards others, resulting in the death of the person or the eternal damnation in which waits. Throughout King Lear, the arrogance of King Lear to not recognize Cordelias unconditional love leads to his abrupt death. Throughout Inferno Alighieri alludes to the somewhat ironic and just forms of punishment by punishing the souls of Hell such as twisting the head of people who predicted the future so then they only see what is behind them. The eventual realization of Lear and Dante both depicts the self-realization in which both protagonists perceive. Though Dante ultimately can change the outcome of his current spiritual righteousness, the repented King Lear only can watch as the actions he demonstrated results in the ultimate destruction of his idyllic scheme.
“If you would not be forgotten as soon as you are dead and rotten, either write things worth reading or do things worth writing.” This maxim applies to the poet Dante Alighieri, writer of The Inferno in the 1300s, because it asserts the need to establish oneself as a contributor to society. Indeed, Dante’s work contributes much to Renaissance Italy as his work is the first of its scope and size to be written in the vernacular. Due to its readability and availability, The Inferno is a nationalistic symbol. With this widespread availability also comes a certain social responsibility; even though Dante’s audience would have been familiar with the religious dogma, he assumes the didactic role of illustrating his own version of Christian justice and emphasizes the need for a personal understanding of divine wisdom and contrapasso, the idea of the perfect punishment for the crime. Dante acts as both author and narrator, completing a physical and spiritual journey into the underworld with Virgil as his guide and mentor. The journey from darkness into light is an allegory full of symbolism, much like that of Plato’s Allegory of the Cave, which shows a philosopher’s journey towards truth. Therefore, Dante would also agree with the maxim, “Wise men learn by others’ harms; fools scarcely by their own,” because on the road to gaining knowledge and spiritual enlightenment, characters who learn valuable lessons from the misfortunes of others strengthen their own paradigms. Nonetheless, the only true way to gain knowledge is to experience it first hand. Dante’s character finds truth by way of his own personal quest.
Absolute in every child’s mind is the belief that they are right, despite all the evidence to the contrary. Until children grow up to raise children own their own, a parent’s disputation only inflates that desire to prove. Part and parcel to this, as one may find out through personal experience or by extension, cruelty towards parents is a reflection of a child’s own inadequacy (whether in large or small scale). In this sense, King Lear is a story of children with a desire to break past their hierarchal status. Whether it is the belief that a woman shall take a husband, and with that guard her inherited land, or what role bastards truly deserves in a society that preemptively condemns them. Cruelty at the hands of children accounts for almost
Despite its undeniable greatness, throughout the last four centuries King Lear has left audiences, readers and critics alike emotionally exhausted and mentally unsatisfied by its conclusion. Shakespeare seems to have created a world too cruel and unmerciful to be true to life and too filled with horror and unrelieved suffering to be true to the art of tragedy. These divergent impressions arise from the fact that of all Shakespeare's works, King Lear expresses human existence in its most universal aspect and in its profoundest depths. A psychological analysis of the characters such as Bradley undertook cannot by itself resolve or place in proper perspective all the elements which contribute to these impressions because there is much here beyond the normal scope of psychology and the conscious or unconscious motivations in men.
King Lear, who as a divine-right king derives his power from God, betrays God's will when he transfers his kingdom to his daughters, Reagan and Goneril. When Lear states that his purpose in doing so is "To shake all cares and business from our age, / Conferring them on younger strengths while we / Unburdened crawl toward death." (Shakespeare 2) he declares his intention to delegate his power so that he is no longer bothered with great responsibilities. In this self-serving act, Lear is unfaithful to God, whose wish it was for Lear to rule for a lifetime. Later, God's wrath is apparent in Act III Scene II when Lear speaks to a tempest, a manifestation of God's anger at the strife within the kingdom, and tells it to "Rumble thy bellyful! Spit, fire! Spout rain! / Nor rain, wind, thunder, fire are my daughters" (Shakespeare 60). Evidently, upon seeing the tempest, Lear is aware that he made a mistake and betrayed God's trust. In speaking to the tempest, he asks for God to correct the situation by causing Reagan and Goneril to fall from power. As a result of his unfaithfulness to God, Lear dies of a broken heart in the end of ...
In Shakespearean drama, a dynamic and explosive fusion of jealousy, pride, anger and ambition is characteristic for heroes’ behaviour. The tragedy was caused by the excessive flaw in character - self-respect and dignity combined with the feelings of hate and revenge. A disaster usually occurred to lead to destruction of the protagonist. Due to divine justice, punishment is inevitable and therefore no happy ending is possible. Therefore, time is the hero’s main enemy, mercilessly working against him. The mystery of tragedy is that once the protagonist has learnt a lesson of how to renew the order in himself, death is the only outcome /no memento mori, however/.
Dante feels hell is a necessary, painful first step in any man’s spiritual journey, and the path to the blessed after-life awaits anyone who seeks to find it, and through a screen of perseverance, one will find the face of God. Nonetheless, Dante aspires to heaven in an optimistic process, to find salvation in God, despite the merciless torture chamber he has to travel through. As Dante attempts to find God in his life, those sentenced to punishment in hell hinder him from the true path, as the city of hell in Inferno represents the negative consequences of sinful actions and desires. Though the punishments invariably fit the crimes of the sinners and retributive justice reigns, the palpable emphasis of fear and pity that Dante imbues on the transgressors illustrates his human tendency to feel sympathy towards one who is suffering. For example, when Dante approaches the gat...
The similarities between The Metamorphoses of Ovid, a latin narrative poem from the creation of the world to the deification of Julius Caesar, and Dante’s Inferno, an epic poem about the journey of Dante through Hell, are not obvious right away. Both pieces use different approaches to attempt to arrive at a truth regarding the essence of human existence, with Dante relying more on a Christian worldview while Ovid took the more paganistic approach. Both works of literature are considered their magnum opus and both poets garnered mixed reactions of both praise and criticism alike. Despite Ovid’s Metamorphoses coming nearly 1300 years before Dante’s Purgatorio, both Ovid and Dante have similar experiences of being exiled and it comes as no surprise
The first stage of Lear’s transformation is resentment. At the start of the play it is made quite clear that Lear is a proud, impulsive, hot-tempered old man. He is so self-centered that he simply cannot fathom being criticized. The strength of Lear’s ego becomes evident in the brutal images with which he expresses his anger towards Cordelia: “The barbarous Scythian,/Or he that makes his generation messes/To gorge his appetite, shall to my bosom/Be as well neighboured, pitied, and relieved,/As thou may sometime daughter.” (1.1.118-122). The powerful language that Lear uses to describe his intense hatred towards Cordelia is so incommensurable to the cause, that there can be only one explanation: Lear is so passionately wrapped up in his own particular self-image, that he simply cannot comprehend any viewpoint (regarding himself) that differs from his own (no matter how politely framed). It is this anger and resentment that sets Lear’s suffering and ultimate purification in motion.
Shakespeare’s Romeo and Juliet is a play involving a pair of two, “star-crossed lovers’,” whose undying affection for each other sparks a fatal romance. This affection creates mayhem that surpasses their claim of eternal love. This exact same mayhem is what leads them to make decisions that ultimately instigate their collapse. The root of this tragedy is undoubtedly the chaos, not only between the characters but also within them. Chaos breeds more chaos, violence breeds more violence and lies only end up in suffering.
As a Shakespearean tragedy represents a conflict which terminates in a catastrophe, any such tragedy may roughly be divided into three parts. The first of these sets forth or expounds the situation, or state of affairs, out of which the conflict arises; and it may, therefore, be called the Exposition. The second deals with the definite beginning, the growth and the vicissitudes of the conflict. It forms accordingly the bulk of the play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. The final section of the tragedy shows the issue of the conflict in a catastrophe. (52)
In acceptance of helplessness, the characters ironically experience growth, joy, and hope. If the world of Lear is chaotic, painful, and alien, it also stimulates growth. The king with no kingdom discovers the superficial authority that was his kingship, and understood “They flatter’d me like a dog...they told me I was everything. ‘Tis a lie” (Shakespeare IV. vi. 96-105). When Lear had finally accepted his inability to change a situation, he looks upon his life with a new-found wisdom. Lear’s progress to acceptance is also marked by the shift of dependence from evil children to good, from Regan and Goneril to Cordelia. The schematic character groupings of good and evil invites us to see the children on a metaphorically level of shifting stages. When Lear is reunited with Cordelia, though he is faced with impending death, he blissfully proclaims “Come, let’s away to prison...so we’ll live / And pray, and sing, and tell old tales, and laugh / At gilded butterflies” (Shakespeare V. iii. 8-19). Lear is, for the first time in the play, truly happy. The King beautifully expresses an idea of acceptance against uncontrollable forces. The prison that Lear speaks of is not a literal one, but rather his response to the approaching end of his life, as it should be for all of us, to pray, to sing, to tell tales, to laugh, to be above the battle of life. Similarity, Gloucester,
Among the followers of Christianity, questions arise in order to find the righteous path to Heaven’s gate. On the contrary, there are those who seek answers for what is forsaken. Dante Alighieri fully expresses himself on this dilemma in his written work, The Divine Comedy. The first part of the epic poem is Inferno; Dante defines and constructs Hell, based on the morals and judgments set by common beliefs during his time. Dante also uses Aristotle’s philosophical work to shape the structure of Hell. Undergoing a journey through Hell as himself, Dante places famous literary icons to assist in questioning the acts of justice. Dante builds and contrast between the sinners who are innocent, and those who deliberately perform evil deeds. Virgil, a fellow poet and pagan, exemplifies wisdom and clarity that which Dante must learn through his endeavor. Virgil’s guidance will provide contrast and the necessary guidance to reach Paradise. The change of character Dante experience, is dreadful; pity and remorse must be exempted to honor retribution for the sinners’ defiance against God. All the answers regarding Hell, lies upon meeting the primal sinner, Lucifer, the Fallen Angel. Dante’s journey unfolds a critical analysis in which portrays the human struggle in every individual. There are several implications of the four functions of myth that can be derived from Dante’s Inferno. Dante divides Hell into three dispositions: incontinence, malice and brutality. (Alighieri, Dante, and Longfellow 6.79-82)