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Dantes inferno punishments
Crimes and punishments in dante's inferno
Dantes inferno punishments
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The “law of nature” that applies to Hell, in Dante’s Inferno, states that for every sinner’s crime there has to be an equal and fitting punishment. The mistreatment has to match with the crime of the sinner. The level of Hell that best represents contrapasso is circle 2. The sinners in circle two are those who are guilty of lust; in this circle, they are condemned to eternal torment. For instance, Dante states that “ I came into a place mute of light, which bellows as the sea does in a tempest, if by opposing winds’t is combated” (Canto 5). The sinners are being blown around in circles by never-ending winds. The sinners, who couldn't control their appetite for lust, do not have control in this circle; therefore, the punishment is a perfect match for the …show more content…
crime.
Additionally, the wrongdoers also have to spend their time in Hell suffering with regret, memories, and excuses. For example, Dante speaks to one of the criminals, Francesca, in circle two, she says ‘“ There is no greater sorrow than to be mindful of the happy time in misery, and that thy Teacher knows. But, if to recognise the earliest root of love in us thou hast so great desire, I will do even as he who weeps and speaks’” (Canto 5). Francesca spends her time depressed in circle two due to her crime and penalty. This is a great match for the felony because in their real life they only thought of adultery and “love”, but now they can only think of the lust, revenge and the memories. However, the sinners that are held in circle 4 are those who are wasters and hoarders; their punishment differs from the lustful. As an example, Dante says that the wasters and hoarders had ‘Rolling weights forward by main force of chest. They clashed together, and then at that point each one turned backward, rolling retrograde, crying, “Why keepest?” and, “Why squanderest thou?’’ (Canto 7). Their mistreatment is to push heavy weights and crash into one another as they shout their
sins. This damage isn't as severe to the lustful ones because they still have their ability to control themselves in Hell. Moreover, the punishment doesn’t connect well with the crime of the wasters and the hoarders. As proof, Virgil exclaims ‘“All of them were asquint in intellect in the first life, so much that there with measure they no spending made’” (Canto 7). Since the sinners couldn't control themselves with money, they should be punished differently instead of pushing heavy weights. Forcing a heavy material does not compare with greed nor waste.
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.
The geography for each circle of Hell's misery is distinctly arranged to coincide with the sin of the sinners contained within. In Canto V, we are taken to the prison of those souls who were unable to master their own desires. These are those who "betrayed reason to their appetite" (1033), allowing the lust of flesh and carnal things overcome their God-given human reasoning. It is here that we see a dark and deafening Hell, full with the roar of the anguish of the condemned dead. Dante sees a great whirling storm of souls that are forever tossed and battered on their "hellish flight of storm and counterstorm" (1033). It is conveyed to us that each soul's path in the whirling cyclone is all but steady, blown about in a constantly changing torment with no direction or destination...
To further interpret The Inferno, the Italian poet, Dante Allegheri, created a method called The Fourfold Analysis. This method involves analyzing the historical, moral, political, and spiritual effects of the topic. For example, Dante’s fourfold method helps the reader to further understand the thieves and their allegorical symbolism. The Thieves are found in the Seventh Pouch of the Eighth Circle of Hell in Dante’s Inferno, guarded by Cacus, a centaur. They are found with their hands tied up, being punished by snakes and lizards. The Thieves played a significant role in The Inferno, as they take up two entire cantos. The sight of the thieves in hell makes Dante’s “blood run cold with fright.” (Ciardi 197) At first glance, the actions of a thief seem to only affect 2 groups of people-the thief and the victim(s)-however, the effects include damage of community trust, personal costs, and continued separation between good and evil.
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.
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.
Upon entering hell with Virgil, Dante becomes witness to the true perfection of the justice done to sinners after their earthly life is over. This divine justice inflicted by God chooses to punish the souls in hell in a way very similar or representative to how the souls sinned on Earth. For instance, those guilty of the sin of wrath "tear each other limb from limb" (133), a punishment which directly relates to the actions of the sinners. However, there are also punishments that are more symbolic of the actions of the sinners, such as th...
The relationship between justice and punishment has been an essential fabric of society for centuries. It’s important to note the significance of justice in this equation. Justice to Dante is whatever you do in this life will haunt you in the next one. Whatever sins you commit will be your punishment. The circles of hell Dante creates is a just punishment for sinners. Those who commit incontinent crimes, violent crimes, fraudulent crimes, and worse crime against the perfect city deserve to be in the inferno. This punishment is just and supports the claim that Dante presents an image of a just God.
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.
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.
Sinners in this section are punished for their lust. The punishment that they have to endure is to be ripped apart by vicious winds (Dante 41). This circle has people included in it that shared a mere kiss with a married person. One lady that is being punished in this section fell in love and kissed her husband’s brother while reading a steamy romantic book (Dante 43). The sinners in this circle are unjustly punished and there should be more fitting punishments. Along with more fitting punishments there should be different levels of punishments based on how severe of lechery was committed. Dante had a lot of different reasons for putting the lustful sin in this order. One reason that he had for doing this is because of self-pity for himself. His love for Beatrice would have placed him in this circle and he realized this. He placed this sin really low on the scale because he knew he was prone to committing this sin. Dante’s own personal experience influenced his decision to put the lustful as only the second circle in the organization of
“A severe mercy — the phrase haunted him: a mercy that was as severe as death, a death that was as merciful as love. For it had been death in love, not death of love. Love can die in many ways, most of them far more terrible than physical death” (Mercy Vanaken). Suicide is often seen an act of selfishness because it causes the most pain to the people closest to the victim rather than on the victims themselves. While that may be true in some universes it certainly is not in Dante’s Inferno. Dante’s is an epic poem that describes the relationship between the severity of a sin with the severity of the punishment for those who have committed it.
In the book, Dante’s Inferno The Divine Comedy , it is filled with adventure, death, and drama. In this essay, I will tell you about Lucifer and contrapasso. Contrapasso is the idea that divine punishment in hell would mirror the sin being punished that Dante created. Sinners would be punished in a way that resembles the sin. In canto thirty-four, Dante is in Judecca which is a level of hell. He meets Lucifer and he is described as huge, ugly, six wings, and three faces. In Dante’s contrapasso, he needs to try and escape. Also, to try and escape the three faced satan. In this contrapasso of Canto thirty- four the three faces will stand for father, son, and the holy spirit. Dante described him as “ I marveled when I saw that, on his head, he had three
Each contrapasso is well thought out and devised to try to show that each sin is different, yet equally punishable in the afterlife. The contrapassos, and therefore the circles of hell, are placed in manner of a sin’s severity, or at least in Dante’s eyes. Sins of the flesh, animalistic sins, and sins of passion are not as harshly punished as sins of reason, calculation, and cruelty. Dante believes that human reasons separates man from beast, and to abuse such a gift from God warrants an unimaginable pain. Thus the deeper in hell you travel, the more thought out sins are punished and the less desirable the punishment.
Caliban is a still boy- strange staring boy, perhaps natures product of pure islander and chaos. In Shakespeare’s The Tempest, Caliban is the slave of Prospero, a sorcerer and ruler of the island that once belonged to Caliban. Shortly after Caliban’s mother died, Prospero and his daughter Miranda washed to shore on the island. Caliban is justified in his hatred for Prospero, immediately as the play begins Caliban spins the tale of his being “dethroned” from the island by Prospero, and forced to do the dirty work. The punishment of Caliban by Prospero can easily be compared to the idea of contrapasso in Dante’s Inferno: which is seen as the reflection of sin to punishment. Most sinners in Hell have no hope of eventual relief due to the severity
The punishment is suitable for the gluttonous. When Dante and Virgil first enter the third circle of Hell, Cerberus, who guards the circle, greets them by showing them his fangs. Cerberus tears at and mangles the spirits in the circle. Dante describes the weather in this circle as “in the round of rain eternal, curses, cold, and falling heavy,