XVI). Furthermore, Virgil claims that love is the source of both good and evil deeds. (Purg XVII) This idea is reflected in the Inferno and Purgatorio: the violent sinners lack love, the prideful sinners who have too much of it for themselves, and the sinners of incontinence who are in hell because of having this kind of disordered love for good
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.
One possible explanation of this is that each sin in itself can be viewed as a form of idolatry. As you engage in idolatry you begin to configure your life around your idol instead of configuring your life around God. Naturally this leads you away from God, and the farther away you become from God the more likely you are going to hell. Ultimately engaging in idolatry will lead you to hell. Dante shows this in his Inferno through many characters, such as Francesca, Ciacco, and
Iago slowly makes Othello believe in false proof of Desdemona 's affair, thus Othello begins to psychologically change by gradually turning to murder through justification of Iago’s statements on Desdemona: “One is too poor, too weak for my revenge. Now do I see 'tis true. Look here, Iago All my fond love thus do I blow to heaven. 'Tis gone. Arise, black vengeance, from the hollow hell!
The abnormal way in which these sexual anxieties are presented permits the discussion of these apprehensions. The supernatural renders Lucy inhuman — her twisted face resembles “The coils of Medusa’s snakes ” (Stoker 250) — and as such, the sexual and moral dangers she posits in her independence are punishable by the four men. The same men who once desired nothing more than her pure affections are those who persecute her to the grave, for Lucy now personifies the destructive morals of the transgressive female. The violence employed in their fight against the vampire, in addition to their destruction of Lucy’s egregious body, demonstrates that male anxieties and fears often transform into hatred towards that which questions their masculinity.
Judas Iscariot is in the central mouth, Brutus and Cassius in the mouths either side. “‘The soul that suffers most,’ explained my Guide, ‘is Judas Iscariot, he who kicks his legs on fiery chin and his head inside. Of the other two, who have their heads thrust forward, the one who dangles down from the black face is Brutus, there with the huge and sinewy arms, is the soul of Cassius. But the night is coming on and we must go, for we have seen the whole.’” (pg. 281)This imagery shows that these three sinners are the worse human kind, because Judas betrayed Christ and Brutus and Cassius betrayed Caesar.
Many crimes of passion are the result of jealousy. “Othello” shows readers how the jealousy of one or two people can result in violent actions and even death. In “Othello,” Roderigo was in love with Desdemona, who was already married to Othello. He teamed up with Iago, who possessed envy because Cassio had been promoted to the position Iago desired. Together, Iago and Roderigo plotted to destroy Cassio’s image and reputation as well as Desdemona’s marriage.
Dante’s Inferno imposes an allegorical journey through Hell. Many symbols were used to create a sense of how the wrong-doing of oneself is the set up to one’s own personal hell. The first symbol introduced in the poem was The Dark Wood of Error. This represented worldliness and how the soul can become corrupt with envy, lust, and gluttony. All three of these sins are represented by a panther, lion, and she-wolf.
The ‘contrapasso’ in accordance with Dante’s Inferno is a process, “either resembling or contrasting with the sin itself” (Musa 37-38). The disenabling of the soul to enjoy the good that it had once rejected is evident as a result of the contrapasso for the soul has no room to grow therefore remains stagnant from the consequences of the choices made on earth (Sayers, Dante The Divine Comedy 1: Hell 120). This mere description of a damned soul’s fate already paints a distasteful picture of the nature of Hell
And yet again, we could see that each punishment reflects the type of sin that has made in their lives. In there, Dante passes by politicians from Florence who confiscated Dante’s possessions after he was exiled from Florence. The sixth circle of Hell is “Hersey”, which is a place reserved for those who have ideas that contradicts Christianity. Their punishment is to spend an eternity in a flaming tombs. And just like the other circles Dante sees some familiar faces or notable historical figures like Emperor Frederick the second and an ancient Greek philosopher called