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The Inferno is the first section of Dante's three-part poem, The Divine Comedy. Throughout Dante's epic journey into the depths of Inferno he encounters thirty monsters and five hybrid creatures. The most significant of these monsters are of central importance to his journey and to the narrative, as they not only challenge Dante's presence in Inferno, but are custodians of Hell, keeping in order or guarding the "perduta gente". In this essay I am concentrating on these prominent beasts, namely Minos, Cerberus, Plutus and Geryon, establishing why they feature in Dante's eschatological vision and discussing the sources which influenced his inclusion of these particular creatures. These four monsters all fulfil important functions as well as representing important themes in Inferno, establishing them as symbols which reinforce Dante's allegory. Minos, as the infernal judge and agent of God's justice, represents our own conscience and morality. When the sinners come before him "tutta si confessa", which causes the reader to reflect on their own sins.His terrifying treatment of the souls is significant as after Charon, he is one of the first figures who they encounter on their passage into Hell, and his unique method of demonstrating which area of Hell that the souls should be sent to increases the horror and adds to the alarming atmosphere. His warning to Dante, is similar to several of the infernal custodians, who continually remind him that he should not be in the Otherworld, tu che vieni al doloroso ospizio, guarda com'entri e di cui tu ti fide non t'inganni l'ampiezza de l'intrare (1) However, Cerberus's reaction to Dante is one of obvious malice and vice, and rather than comment on his presence he... ... middle of paper ... ...s Minos's warning to Dante and his unusual illustration of how the sinners are judged. The monsters also form strategic narrative devices, as their confrontations with Dante and Virgil continue the pattern of incident and movement in the text, adding variety and tension. The beasts form an inherent and essential part of the narrative because of the excitement and terror that they add to Dante and Virgil's journey, as well as reinforcing Dante's classification of sin. They also illustrate the traditional motifs of Otherworld visions, whilst simultaneously expanding and developing previous representations of the afterlife in order to form original and exciting creations. This shows the importance Dante placed on the inclusion of these beasts as they not only express the influence of other works on Inferno, but also his own spectacular creativity and fantasy.
The area known as Scotlandville today was just an isolated rural village near Scot’s Bluff. It was named for a cotton planter whose plantation was located near the Mississippi River. The name Scott’s Bluff was given because most traveling done by people and freight was by boat. Sometime after the Reconstruction Period the area was given its official name. It was named Scotlandville, Louisiana. The decision for this was because the railroad station to Yazoo and Mississippi Valley was named Scotland. There was a small depot located near Scotland Ave. and Scenic Hwy which was the Scotlandville Branch Post Office.
... had not been for that, Mary would have been very complacent to join her husband in the afterlife (Dahl 382). This is why Mary and Nora were right for their actions.
In circle three of Inferno, Dante conjures a despairing tone by use of vivid imagery and extensive detail to display the harrowing effects of gluttony. This is best exemplified through the weather patterns and general landscape of this circle, the Poets’ encounter with Cerberus, and Dante’s conversation with Ciacco, the Hog. These devices also allow for the conveying of ideas embedded within the text.
On the other hand, when we look at Bilbo Baggins, the picture that we come up with is a small hobbit from a far away and relatively unknown land. He is portrayed as someone that is very insignificant. He is insecure of seemingly on the edge of losing control every step of the way. Where Beowulf would represent they type of hero people will follow into battle, Bilbo Baggins would represent the type of person that stays at home smoking a pipe by the fire. However, this is the reason why we see Bilbo Baggins as a hero.
Wilson, Sarah. "Sigmund Freud and the oedipal complex." The Observer”. Guardian News and Media, 8 Mar. 2009. Web. 1 May 2014. <http://www.theguardian.com/lifeandstyle/2009/mar/08/sigmund-freud-oedipal-complex>.
Individually, the characters of Cato, Sordello, Statius, and Matelda each serve as corrected counterparts to other characters, allowing Dante to learn by comparisons. As a whole, these secondary guides are critical in shaping Dante-author’s vision of Purgatory and the lessons Dante-character is meant to learn. They bridge the gap between classical and Christian wisdom, and further the development of his Christian poet identity, to allow him to progress beyond his poetic models. They exemplify freedom, hope, divine guidance, and love as the key values in Purgatory, defining Dante’s Purgatorial experience and shaping his will to be virtuous enough to enter Paradise, the next step of his journey.
...’s rhythm and phrasing, which she incorporated in her own vocal melodies. Holiday wrote in her autobiography “Lady Sings the Blues”, “I spent many a wonderful hours there listening to Pops and Bessie. I remember Pops’ recording of “West End Blues” and how it used to gas me. It was the first time I ever heard anybody sin without using any words”. (Holiday, Lady Sings the Blues) If you listen closely to her songs and Armstrong’s songs, you recognize how Holiday learned how to sing and swing at the same time, similar to Armstrong’s technique. In 1958, a year before she died, Frank Sinatra said that Holiday was “Unquestionably the most important influence on American popular singing in the last 20 years.” Not only did she develop a memorable and unique style of jazz singing but the way she approached her material left its mark on many of her peers, both in jazz and out.
...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.
Dante begins his struggle when he becomes lost in the dark forest and then later finds himself in the deep depths of hell with Virgil. “Everyman—that is, any human being—finds himself in the dark state of sin and error after having wandered from the true moral course established by God” (Rudd 10). He encounters a ghostly guy named Virgil who was the amazing Latin/Roman poet that guides him through the nine chambers of hell ba...
In conceiving the punishments of Hell, Dante employs mythical material and elements of popular faith; they are enormously imaginative, but each single one of them is based on strict and precise reflection, on the rank and degree of the sin in question, on a thorough knowledge of rational systems of ethics; and each one, as a concrete realization of the idea of divine order, is calculated to provoke rational thought concerning the nature of this sin, that is, the way in which it deviates from the divine order. (111)
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.
Dante's "Inferno" is full of themes. But the most frequent is that of the weakness of human nature. Dante's descent into hell is initially so that Dante can see how he can better live his life, free of weaknesses that may ultimately be his ticket to hell. Through the first ten cantos, Dante portrays how each level of his hell is a manifestation of human weakness and a loss of hope, which ultimately Dante uses to purge and learn from. Dante, himself, is about to fall into the weaknesses of humans, before there is some divine intervention on the part of his love Beatrice, who is in heaven. He is sent on a journey to hell in order for Dante to see, smell, and hear hell. As we see this experience brings out Dante's weakness' of cowardice, wrath and unworthiness. He is lead by Virgil, who is a representation of intellect. Through Dante's experiences he will purge his sins.
The largely significant psychologist in the twentieth century, Sigmund Freud, founded analysis and also recognized a new organization for treating behavior disorders. His study in psychology brought out many radical and contentious views on human behavior. One of the view he maintained is that unseen layers in the child's mind are vibrant by sexual and hostile motive regarding its parents. A distinctive example is the Oedipus complex, consisting of sexual need toward the parent of the opposed sex and jealous loathing of the rival.
World War I also changed America's economy and industries. When America joined the war, supplies like guns, ammunition, food, and uniforms were needed, so businesses stepped up to fill this demand. In addition, with most of the men at war, regular daily life halted and the rest of the people found jobs to help get su...
Collaborative learning is an educational approach that involves groups of learners working together to reach a consensus through negotiation to solve a problem, complete a task, or create a product (Bruffee, 1993). Learning occurs through active engagement among peers, wherein the main characteristics of collaborative learning are: a common task or activity; small group learning, co-operative behaviour; interdependence; and individual responsibility and accountability (Lejeune, 2003).