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"The Divine Comedy" - Dante Alighieri's "Inferno", 2007.
A discussion of the epic poem "The Divine Comedy" by Dante Alighieri, focusing on canto III of Dante's "Inferno".
1,192 words (approx. 4.8 pages), 4 sources, MLA, £ 20.95
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Abstract
This paper examines the scholars and the de-contextualization of Dante's "Inferno" - with special emphasis upon canto III. The paper summarizes the scene when a fearful Dante first enters Hell and discusses its significance in terms of understanding Dante and his world. The paper also looks at how intellectuals view Dante's "Inferno". The writer believes that the work stands out as a classic example of the medieval allegory play taken to new rhetorical heights. The writer concludes that it is also an example of how even the simplest works, if powerfully wrought, can spark wide discussion among academics who seek out meanings unimagined by the author.
From the Paper
"Ultimately, the canto, like the rest of the cantica, is a potential mirror into the world in which Dante Alighieri lived as well as a mirror into his own inner turmoil as a devout Christian seeking a purpose to his life as well as answers to questions that presumably many devout Christians were asking in the fourteenth century. To start with, the canto (in the original Italian, anyway) was written in the demanding terza rima rhyme pattern (Scott para.2) and, even in English translations, the text can be difficult to follow as Dante tries to bend the language into shapes and forms to which it does not adhere willingly."
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"The Inferno, Canto 12" by Alighieri Dante, 2002.
The paper analyzes the use of the epic simile in Canto 12 of "The Inferno", which follows Dante's journey through Hell on his route to finding God.
1,012 words (approx. 4.0 pages), 1 source, APA, £ 18.95
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Abstract
The paper looks at the compelling epic simile used in Canto 12, in which Dante compares a bull on the way to slaughter to the dreaded Minotaur, that Dante must face on his way to Paradise. The paper explains how using a bull as the symbol of the beast allows the reader to immediately understand the violence and force of the Minotaur. It also discusses the knowledge that Dante must gain during his journey in order for him to achieve victory.
From the Paper
"Another analogy also fits the image of the bull that gains strength in the last minutes of life, and fits the image of the Minotaur, half bull, and half man. Bulls are notoriously violent, they charge at the least little thing, and are not known for their brains. They are also hopelessly lost outside of their element, as the "bull in the china shop" analogy clearly shows. Thus, this "bull man" that is the Minotaur can be overcome when it is outside its element, where it is no longer comfortable. Remove this ultimate beast from its position in the labyrinth, and you will have the upper hand, as Dante and his guide discover. Therefore, the Minotaur serves yet another purpose in Dante's growing knowledge as he moves along the pathway toward Paradise. The Minotaur shows that the violence of the Minotaur is a result of his environment and his comfort level, and if these are removed, the Minotaur is vulnerable. This is a valuable lesson in life, for it shows how even the most violent among us use their environment as a shield to hide their vulnerability."
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An Analysis of the Inferno of Alighieri Dante, 2006.
An examination of the use of allegory in Dante's Inferno from "The Divine Comedy".
1,317 words (approx. 5.3 pages), 13 sources, MLA, £ 23.95
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Abstract
This paper begins with an explanation of what is meant by allegory and then discusses the use of allegory in Dante's "Inferno", using Robert Pinsky's translation of the text. Specific examples are cited and analyzed to demonstrate the allegorical and symbolic concept of Dante's writing.
From the Paper
"When Dante writes of the dark woods so hard, tangled and rough he is referring to the fact that he feels as if he has lost himself. This is reiterated by the words "the rightroad lost". When we are lost in the woods we have lost the right road. The rightroad lost is symbolic of a dark night of the soul as in one falls to side of the road or spiritually loses one's way."
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Dante's "Inferno": The Structure of Hell, 2005.
A brief look at Dante's Alighieri's Inferno and the structure of hell that he describes in the story.
742 words (approx. 3.0 pages), 0 sources, MLA, £ 13.95
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Abstract
Dante Alighieri's "The Comedy "is one of the most recognized pieces of literature in the modern world. Dante completed the first of the three books contained in "The Comedy" in 1314; "Divine" was not added to the title until much later. The other two books, "Pergatorio" and "Paradisio", would soon follow. But it is "Inferno" that brings forth imagery so intense that it has seldom been rivaled. This paper takes a look at Dante's "Inferno", specifically his description of the different levels of hell.
From the Paper
"As the story advances we begin to see with much more clarity Dante's structure of Hell. Descending down through the lower circles of Hell, Virgil shows Dante the increasing brutality of the punishment. Until the fifth circle, Dante is still in the upper section of Hell. In this segment the penalties seem almost tolerable, considering what is witnessed later on. In the first circle, which houses the un-baptized infants and virtuous Pagans, the inhabitants merely pine away in a state of melancholy, a world of desire without hope. While this would be enough to drive anyone mad, especially such great thinkers as Plato and Socrates who are witnessed there, this is but a day in the park when compared to the constant torture of the residents of the lower levels of Hell."
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Dante and Boccaccio, 2006.
A comparison of the works of Dante Alighieri and Giovanni Boccaccio.
3,048 words (approx. 12.2 pages), 2 sources, MLA, £ 46.95
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Abstract
The paper compares the works of Dante Alighieri and Giovanni Boccaccio. The writer describes how they both derived much of their view of the world and its relation to the next world from their Catholic faith. The writer further examines how the two writers look at the world in different ways, though both are Italian, both Catholic, and both medieval in world view for the most part. The writer concludes that Boccaccio tends to be more humorous, more expansive, more varied, and more secular in his stories, while Dante is more spiritual and more focused on the darker aspects of the human spirit.
From the Paper
"This is one reason why Boccaccio is more often compared to Chaucer than to Dante. Of course, Chaucer derived a number of plots from stories in The Decameron and also used many of the same story forms, notably the fabliau derived from the French. The love triangle is the most common plot for both Chaucer and Boccaccio, with numerous variations, while Dante's unrequited love for Beatrice never involves a third party but only shows that distance is maintained between the man and the woman he loves from afar."
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Dante's "The Divine Comedy", 2006.
A review of Dante Alighieri's renowned work "The Divine Comedy".
1,155 words (approx. 4.6 pages), 0 sources, £ 20.95
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Abstract
This paper explores how the work combines and expresses Dante's knowledge of the classic writer Virgil, Greek philosophers Plato and Aristotle, and the Medieval Christian Theory, predominantly Catholicism and the Bible. The author also demonstrates how Dante addresses the subject of love.
From the Paper
"Dante draws on Aristotle for his conception of love in the case with Beatrice, who later escorts him into Paradise. Aristotle pictures the source of the universe not as love itself, but as the simple first cause, toward which all things aspire through love. In the same way that a moth is drawn toward a flame, the planets and celestial spheres are pulled toward the perfection of the first cause, and through this desire they are moved to participate in a circular dance. When Dante speaks of "The Love which moves the sun and the other stars" in the final line of The Divine Comedy, he is referring to Aristotle's idea that cosmic desire for the first cause energizes the motion of the entire universe."
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Virgil, Dante, and the Bible, 2006.
This paper analyzes the theme of morality, which is clearly evident in the "Aeneid" by Virgil, "Inferno" by Dante Alighieri and the "Book of Jonah" from the Bible.
831 words (approx. 3.3 pages), 0 sources, £ 15.95
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Abstract
This paper illustrates how all three works have used journeys as symbolic representations through which each story's protagonist has learned that suffering is inevitable when surrounded by evil. In the "Aeneid," Aeneas is characterized as a mortal who has witnessed, discovered and explored the life of other mortals in what was later identified as hell. A similar scene is depicted Dante's tale, wherein the title character must witness the suffering in the City of Dis. In the Bible, the reader understands that Jonah's journey is in the form of repentance and humility. Suffering was illustrated through Jonah's ordeal when he was swallowed by the whale. The writer contends that despite the differences in the cultural contexts of the three journeys, each had similar themes that entailed suffering in either hell or the underworld, which was the result of man's moral decline.
From the Paper
"Thus, Aeneas' journey in the underworld is but a manifestation of the state of mind when evil acts dominate one's soul or self, which is full of suffering. Apart from suffering, Virgil also identified Revenge, Diseases, Want, Fear, Famine, Toils, Death, Sleep, Pleasures, Frauds, Force, Furies, and Strife as other elements that, when committed excessively by the individual, leads ultimately to the descent of the soul in the underworld. A similar scenario was presented in Dante's "Inferno," wherein he portrayed Limbo as a place wherein suffering also prevails."
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Dante's "Inferno", 2002.
This paper discusses and analyzes "Inferno," by Alighieri Dante.
655 words (approx. 2.6 pages), 2 sources, MLA, £ 12.95
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Abstract
The purpose of this paper is to introduce, discuss, and analyze the book "Inferno," by Alighieri Dante. Specifically, it describes two characters, Beatrice and Lucifer. Beatrice and Lucifer could not be farther apart in this poem. They represent good and evil, savior versus destroyer, and they are both present in the poem in order to illustrate the ultimate theme of good versus evil, and Dante's ultimate salvation.
From the Paper
"The "Inferno" is the first of three books that make up Dante's classical work "The Divine Comedy." The "Inferno" follows Dante's journey through Hell on his route to finding God. He begins at the bottom in sin, and must fight his way to the top, where lovely Beatrice awaits him in Paradise."
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Dante and Catholicism, 2007.
This paper examines the treatment of the Catholic faith in Dante's work.
1,642 words (approx. 6.6 pages), 3 sources, MLA, £ 27.95
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Abstract
In this article, the writer studies the writings of Dante Alighieri and notes that he makes comment of the current political and religious world in which he lived. The writer points out that in so doing, Dante created a likely unintended controversy, with regard to the way in which things were done in the church and politics. Further, the writer notes that Dante disagreed with this in many ways, but attempted to pacify this controversy through his works, especially with his 'Inferno'. The writer concludes that through Dante's inclusion of many ideals and standards of his faith, some have seen his works as spiritual and worthy quests, yet his emphasis on self-determination and self-judgment was contrary to the validity of the central authority of the Catholic faith, regardless of his desire to embrace it.
From the Paper
"Dante, traced his own personal economic and political trials through his experiences in a system, not unlike that described by his Catholic faith, and yet in so doing he must have known that he would challenge the Catholic ideal of centralized authority and power. Though some say his intention was to make sense of his problems and his seeking of salvation through this exercise with no intention of harming his faith or its standards but he hesitated in his debates, as if uncertain that he held any or all of the answers he was seeking in his pilgrimage of the mind."
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The Divine Comedy of "Inferno" and its Literary Importance to the Ages., 2002.
In-depth report and literary analysis of the work of Dante Alighieri in "Inferno".
2,575 words (approx. 10.3 pages), 1 source, £ 40.95
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Abstract
This paper is an analysis of the poem "Inferno" by Dante Alighieri. The author discusses the comedy in 'Inferno" and the importance of its style of writing and use of language for the times it was written in.
From the paper:
"When a man steps up to construct a work of art, they do it for a plethora of ideas. These can be either to change viewpoints, express personal ideas, or insure their name in the years to come. Yet the creator cannot simply be the only one to make a work of art one of importance. It must include the passion of the times and the eagerness for something new and vivacious. To break traditions from the past is to set traditions for the future. Dante Alighieri created a poem in the 1200's that Florentines and the world had never conceived up."
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Dante and Milton, 2005.
This paper serves as a comparative essay regarding the lives of writers Dante and Milton.
675 words (approx. 2.7 pages), 4 sources, £ 13.95
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Abstract
This essay compares and contrasts the classic poets, Dante Alighieri and John Milton. It first details the time periods during which each lived, Dante in the medieval era and Milton in the Renaissance. The writer looks at the similarities and differences in their lives. Then the essay takes a short look at Dante's 'Inferno' and Milton's 'Paradise Lost' to further see issues on which they thought alike, despite the time and geographic differences between them.
From the Paper
"In these modern times, this modern era of literature and thought, it is easy to lump all ancient writing together. Chaucer, Milton, Dante, even Shakespeare, are so long dead that they all seem to have come from the same distant, canonized, unreachable time. Yet, each of these old writers lived in his own time and wrote for his own reasons about specific and relevant themes. This essay looks at Dante Alighieri and John Milton, two famous writers from differing time periods and differing circumstances. A work from each writer, Dante's 'Inferno' and Milton's 'Paradise Lost', each similar in theme, will be studied in order to better compare and contrast these two heroes of Western literature. Dante Alighieri came from medieval Florence, Italy. Born in 1265 to a family of money, Dante was raised within Florence's intricate political network."
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Dante's "La Vita Nuova", 2006.
An analysis of Dante's use of the phrase "love and the gentle heart" in his collection of poetry entitled "La Vita Nuova".
1,615 words (approx. 6.5 pages), 3 sources, MLA, £ 27.95
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Abstract
This paper analyzes Dante Alighieri's testament to romantic love and his own love for Beatrice in "La Vita Nuova". Through an analysis of the theme, tone and structure of the 25 sonnets contained in "La Vita Nuova", the paper explains that Dante uses the poignant sonnet form to convey the nature of his love for Beatrice and that his use of the the phrase "love and the gentle heart" refers to the type of mature love shared between the spouses in an old married couple.
From the Paper
"The third and fourth lines of the poem use a teasingly sardonic analogy to emphasize the poet's main point. "...each from the other one as well divorced / as reason from the mind's reasoning." The use of the word "divorce" serves as a double entendre, referring both to two ordinary objects being rendered as well as to two persons dissolving their marital vows. As divorce is the exact opposite from union, the poet creates some dynamic tension through the use of phrases like "one thing" and "the other one" in conjunction with the word "divorce." The repetition of the word "one" in lines one and three acts as a unifying devise in this initial stanza. Similarly, the last line of stanza one contains another word repetition: "reason" and "reasoning." The poet could have easily selected a synonym for either "reason" or "reasoning." Dante's choice implies a conscious use of word repetition that parallels the repetition of the word "one." The repetition helps emphasize the poem's central themes. Finally, the concept of reason differs greatly from the concept of love." Love and reason are in fact often in direct opposition to one another. The irony of love being compared to reason mirrors the contrast between love and divorce in this first stanza."
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Dante's "Inferno": The Teacher and The Student, 2002.
This paper presents a detailed examination of the relationship between Dante and Virgil in Dante's "Inferno".
690 words (approx. 2.8 pages), 1 source, MLA, £ 12.95
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Abstract
The paper states that in Dante's "Inferno" the personality characteristics of Dante and Virgil and their relationship is extremely important to the context of the story. The writer uses examples and character analysis to present this relationship.
From the Paper
"Dante is not a gifted man intellectually. He is a bit of a bumbling guy who seems to need a lot of supervision and guidance to get through life. He was however, a firm spiritual believer who followed his heart when it comes time to believe in Virgil."
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"The Inferno of Dante", 2002.
Tracing the relationship of Dante and Virgil based on Robert Pinsky's translation, "The Inferno of Dante".
751 words (approx. 3.0 pages), 3 sources, APA, £ 13.95
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Abstract
This paper examines the relationship between Dante and Virgil as depicted in Pinsky's translation. Their relationship throughout poem is filled with symbolism. The epic poem is about Dante who journeys through the underworld and Virgil, the Roman poet, serves as his guide. The paper shows how Virgil symbolizes knowledge and safety to Dante, who is at times uncertain and timid about traversing such treacherous terrain.
From the Paper
"Robert Pinsky is a distinguished poet and translator of "The Inferno of Dante" (Farrar, Straus & Giroux, 1994). The "Inferno" -- which is the first part of Dante's "Divina Commedia" -- remains a popular and compelling poem for modern readers; there have been at least fifty English versions of the "Inferno" in this century alone. Of course, any translator must rely on previous translations and commentators in undertaking such an ambitious task, and Pinsky has said that he depended largely on Charles Singleton's scholarly, painstakingly literal prose translation (1970), and on the best-known nineteenth-century American verse translation, by Henry Wadsworth Longfellow (1867). "
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