The humanization of the Demon done by the author creates an atmosphere in which something so terrible and tyrannical is used as a symbol of isolation, emotion, and rebellion that we as humans experience regularly. In our physical world we are bound by time, space, social constraints, and emotion just as the Demon is in his fictional world. By portraying the Demon’s dilemmas in a human way, Lermontov simply tells a beautifully tragic and elaborate story in which evil projects human qualities allowing us to feel empathy and connection with others, whether they are fictional or
The function of a literary device plays an important part in literature. They provide a deep analyzation of the structure in a novel or poem. In Dante’s The Inferno literary devices play a significant role in providing a clear explanation of the Pilgrims journey through hell, allowing one to better understand the concept of eternal punishment. TS Dante uses symbolism in order to dehumanize the sinners in hell. Ex1 Symbolism in Canto 30 provides insight to the reader on the Falsifiers’ animalistic behavior.
But, as the poem continues to progress, it becomes quite clear the there is a perfect balance within God’s justice as the degree of each sinner’s punishment perfectly reflects upon the gravity of the sin. Furthermore, the inscription on the gates of Hell explicitly states that Hell exists as a result of divine justice; “ll. “Justice moved my great maker; God eternal / Wrought me: the power and the unsearchably / High wisdom, and the primal love supernal (III.4-6).” Prior to delving into the structure of Hell and how it displays God’s divine justice, one must first familiarize themselves with both the historical context of Dante’s life, along with the beliefs of the medieval church. It is essential for one to do so as these have a major influence over nearly every aspect of the epic. Dante was born in 1265 in Florence, Italy, to a moderately wealthy family
In Dante’s Inferno, he writes about his journey through hell for the purpose of recognizing his sins. He goes through this journey with Virgil, a voice of reason for Dante. Dante meets people through his journey of the many circles in the Inferno that lead him down into the center of hell, where Satan is. Satan is seen as being monster-like with three heads, representing a mocking of the Trinity and blowing his wings around the cocytus river. The final thing seen here is the fact that Dante’s description of Satan is a bit disappointing compared to the other descriptions he has written about the inferno.
Likewise in the play No Exit, the author Jean-Paul Sartre has his own interpretation of hell. Set in a drawing room with second empire furniture, Sartre coins hell as not a place one is put in, but rather, the people one is surrounded by. He does this by employing the concept of sight, through both a literal and figurative style to effectively define this culture of hell by means of three deceased individuals; Joseph Garcin, Inez Serrano, and Estelle Rigault, all being punished in hell for their sins. Throughout the entirety of the play, sight is utilized to showcase that the inability to see oneself, the
Symbolism is utilized throughout the Pit and the Pendulum, illustrating the unpleasantness of life, social structures of society, and vileness of human nature. Poe symbolizes the unpleasantness in his short story by using the pit, which portrays the evil in the world because it can be a representation of hell, in a religious point of view, “I now saw clearly the doom which had been prepared for me, and congratulated myself upon the timely accident by which I had escaped. A step farther before my fall, and the world had seen me no more (poe).” This quote is a representation of hell as it talks about how the world could not see him anymore, much like hell which is perceived to be deep underneath the world where no one can find or see it. He also uses the Spanish Inquisition, which was a punishment to non- catholics, and if they were found not to
As Louis L. Martz dictates in his piece titled, “Paradise Lost: The Realms of Light,” Satan’s descent into Hell, following banishment from Heaven, catalyzes the entrance of light and dark imagery into the novel. Satan, now barred from the, “happy Realms of Light,” recognizes his separation from his former alliance with the divine essence (qtd in Martz 72.) In his brief period of grief, Satan finds himself struggling towards the light that radiates from Heaven, signaling the presence of innate light still within the fallen being. However, this light soon becomes squandered when Satan finds it, “better to reign in Hell, than serve in Heaven,” (1.263) In his decision, the prevalence of darkness within Hell increases and eventually seeps into the secular realms created by God. However, the analysis of these created realms as well as Heaven, the prime radiant domain of God, and the placement of such imagery in these realms remains pertinent as
Emily Dickinson and Robert Frost both write about darkness, structuring their poems in an uncertain and cynical tone stringing along the reader by using consistent rhyming and vague details. The authors also use extended metaphors and fearful imagery to implement the ominous feel that comes with darkness. Although both poems use different devices to achieve their purpose, the message is almost parallel. In Emily Dickinson's “419” she grabs your attention by using the pronoun “we”, in doing this she relates to the reader and makes the poem more personable. Her point of view allows her to describe just how vast her darkness is, all the while putting us at the center of the action.
Bosch represents the hellish counterpart of the heavenly mansions in both the pictures, dominating the foreground with new motifs. Although the basic meaning of both the pictures is simple, the artist comments on an unpleasant aspect of human nature. Bosch has incorporated traditional iconography in both the scenes through dominating background images. Hell is a nightmarish place in both the triptychs. The Haywain and The Garden of Earthly Delights narrate two distinct stories in terms of their central panels.
The portrayal of character self-discoveries and the exploration of unknown aspects of humanity within literature reveal not only the intricacies of human nature, but trigger within the audience a newfound understanding of the complexity of the human experience. Shakespeare, throughout “The Tempest” utilises the dichotomous character of Prospero to exemplify the dual nature of mankind, challenging the explicit polarisation between good and evil amongst humanity. The juxtaposition between Prospero’s cruel, commanding persona, as expressed through the vicious threats of “I’ll rack thee with old cramps, fill all thy bones with aches” as opposed to his loving protective treatment of his daughter who he fondly refers to as “cherubim” accentuates