Down to the penultimate Canto, Dante meets the second pair of sinners bound together: Ugolino and Ruggieri. Ugolino bites the skull of Ruggieri—the vengeance that he badly wanted on earth is given to him for eternity. This image of Ugolino and Ruggieri reminds us of the image of Paulo and Francesca as the only sinners in Hell that are bound together. The juxtaposition of Ugolino and Francesca ultimately demonstrates two facets of love: A fatherly love that was rejected because of pride and a passionate love that was pursued despite its unlawful nature. (Inf.
The Inferno, written by Dante Alighieri, is about a journey through hell that the main character Dante must go through due to being exiled. At the final 9th circle, Dante encounters Count Ugolino, a traitor against italy. Dante listens to Ugolino’s story about the tragedy of himself and his sons, reflects the theme of human reason and emotions. Count Ugolino commits an ambiguous sin and has an unreliable reaction towards it, which causes the reader to question the incredibly heavy punishment that Count Ugolino is dealt. This passage draws attention to issues with reliability, regarding Ugolino, Dante the author, and Dante the pilgrim.
The three personas share different perspectives on the grueling detail of their findings in hell. As his journey is told through poetry, each specific depiction of punishment, aside from eliciting a disgusted emotional response out of the reader, is symbolic towards the overall meaning of Alighieri’s motivation. Duality is a prominent
Hawthorne’s use of words such as “mournful,” “sinful,” “dreadful,” “horror,” “shadow,” and “red stigma” create a dark and deathly tone (Hawthorne 381). This tone associates directly with Chillingworth which adds to his nightmarish portrayal in the passage. Hawthorne also uses imagery to portray Chillingworth as a symbol of the devil in the quote “the devil knew it well and fitted it continually with the touch of his burning finger!” he literally calls Chillingworth the devil, and “now at the death-hour, he stands before you” is also used to portray him as the devil because the “death-hour” is foreshadowing the apocalypse and soon coming end to the novel (Hawthorne 381). Chillingworth’s portrayal as evil and the devil is used in the book to reveal that seeking revenge towards Hester caused hate to manifest inside him and transformed him into a much darker and more evil being than he once was in the beginning of the book. This helps the book as a whole convey one of the flaws in society as Chillingworth holds on to his grudge and allows it to control his actions and change
The speaker is still focused on him/herself as seen in the use of “I” and “me”. The feelings of guilt and grief begin to surface after the speaker’s murderous rampage, they say, “If only they’d all consented to die unseen gassed underground the quiet Nazi way.” This loaded sentence brings the poem full-circle again, speaking of the gassing and referencing Nazis; however, it seems to be a charged accusation to the woodchucks themselves, as if the speaker is accusing them of bringing out all of this evil because they didn’t choose to die easily when the speaker was being
In her essay, “Sizing Up the Effects”, Professor Sissela Bok states the harmful effects of aggressive media and accents her informational argument with scholarly accounts of emotion in order to grab both the hearts and heads of her audience. Bok references a study done on homicidal men and says “What is most startling about the most violent people is how incapable they are… of feeling love, guilt, or fear.”, shortly after she takes a quote from Macbeth “I am in blood. Stepp’d in so far that, should I wade no more, Returning were as tedious as go o’er.” By including these hard hitting, poetic pieces she stimulates a new part of each audience member, a personal element is introduced making all of her given information apply on a deeper level.
In Circle 5: Styx, Canto VIII, Filippo Argenti, a sinner of Wrathful, helped Dante to symbolize to readers his anger towards Black Guelphs, political enemies of the White Guelphs. In Circle 7: Round Three, Canto XV, Ser Brunetto Latino,
All three of these sins are represented by a panther, lion, and she-wolf. The sin and corruption is shown with, “What was this forest savage, rough, and stern,/ Which in the very thought renews the fear” (Alighieri line 5-6). While Dante was beginning to fall of the path to Heaven with temptation of sin and corruption, he runs into Virgil. Virgil symbolizes human reason. This is because he leads Dante through
After hearing her story and seeing her torment, Dante becomes overwhelmed to the point of fainting. His response to sin at this point is contrary to the Christian view; however, his responses evolve throughout the journey. In conclusion, Dante’s Inferno implicitly communicates to mankind through an allegorical presentation about an individual’s detour off a righteous path leading him into the depths of Hell. He gradually learns that God’s justice prevails, no one can escape eternal damnation unless they
This version of Hell, however, was born from Dante’s mind after being banished from Florence. Much of the Inferno is written as satire, but the morals it holds still present themselves within the larger Catholic ideology. In Thomas Thayer’s The Origin and History of the Doctrine of Endless Punishment, he conducts a detailed analysis of the Bible’s hell and it’s origins. Thayer states that the word “hell” actually comes from the hebrew word sheol meaning “The place or state of the dead” (44) Not only is the word hell used for the