AP Literature Research Paper of Dante’s Inferno By Brian McCaughey In the book Inferno by Dante Alighieri, the main character is led by the spirit Virgil through the nine layers of Hell. During this journey, Dante encounters many sinners that have been condemned to Hell for sins ranging from being unbaptized (layer 1) to treachery against man and country (layer 9), with each layer being more torturous than the previous. Many characters from a range of novels can be categorized into at least one of the layers of Hell based on whatever sin they committed. One character that could be condemned to Hell is George Wilson from The Great Gatsby. He was responsible for not only the murder of Jay Gatsby but also his own suicide.
Archetypes trigger unconscious memories because of their general meanings and provoke emotions. Lucas’s use of archetypes was inspired by Joseph Campbell’s book, The Hero with a Thousand Faces, which traces the archetypal hero’s journey. Lucas was determined to create a film about multiple heroes’ journeys through the use of archetypes. For example, Lucas uses the archetypal color of black to represent evil in the Dark Side. He also uses the archetypal symbol of the kiss to represent Leia being awakened by Han when he kisses her.
Though Jack and Rose are fictional characters in the James Cameron film who run through a love story, I believe that they are both used to show the extent of the chaos and the wreckage of the Titanic – which is also what the Pratt poem is used for. As E.J. Pratt uses the theme of man's arrogance to show how badly things went wrong on the Titanic, James Cameron uses the love story of Rose and Jack to show the same thing. Both Cameron and Pratt uses ideas of their own mind to show the chaos of the sinking. Pratt also describes the theme of man playing God when he writes “To fold the heavens up and reinduce what ancient hubris in the dreams of men, which would have the slain the cattle of the sun, and fliched the lightnings from the fist of Zeus.” In the movie, the Titanic is referenced as the Unsinkable.
It was also an era deeply imbued with the debate between the Humanity and Divinity. It is within this context that Christopher Marlowe wrote the Tragical History of Doctor Faustus, a play that brilliantly showcases his Marlovian ambiguity. By examining Marlowe's Faustus and contrasting with his source material, we will see how social anxiety and ideological debates are represented within his tragedy. In the article "Death and the Devil" Lynn White, Jr. describes the Renaissance as "the most psychically disturbed era in European history," insisting that European societies during this time displayed an irrationality that "was symptomatic of abnormal anxiety," an anxiety that "arose from an ever increasing velocity of cultural change" (26). This cultural change was spurned by the secular shift from faith to reason, the abrupt acquisition of classical knowledge, and religious reformation.
Ileah Glenn ENG 2110 M&W 3pm Dr. Voss Dante's Inferno chronicles a strange journey through hell, seeming familiar at times but shocking at others. As an American and a Christian, I think that my opinion on this could be crafted from my religion and our society, particularly its media. In my mind I’ve depicted hell as this place of immense torment bestowed on all sinners. My faith has taught me that those who sin go to hell to be punished. Dante's adventure clearly shows that the souls of hell are punished, as I thought.
Analysing Satan’s Speech (Lines 494 – 549) of Milton’s Paradise Lost Lines 494 to 549 of Paradise Lost, are about Satan for the first time approaching and addressing Eve. The entire section includes many sexual references, which create a sense of an approaching loss of innocence and forebode the coming-up Fall. It is another step in preparing the basis, for the following Fall of Man from Eden. The first line of the section makes very clear to the reader that Satan’s plan is evil and is going to be harming Mankind, referring to him as “the enemy of Mankind”, but it is also added, that Satan is caught in his role, as there is some prison-like images added by “enclosed” and “inmate”, which might make the reader pity him. His approach is explained in great detail, including many “winding”-words, which could be seen as a reference on how he is going to take her in, with his words, like “indented waves”, “circular base”, “circling spires” and “floated”.
Faustus begins his experiments by conjuring up spirits. Mephistophilis appears before him, but Faustus is so shocked by his horrible appearance that he asks him to go away and come back again in the guise of a friar. Faustus then learns that it was not his invocation that produced Mephistophilis, but the curses he heaped on the holy trinity. Faustus asks Mephistophilis to return to the mighty Lucifer and meet him again in his study at midnight to enact the pact. Faustus is then subject to a spiritual conflict.
One of the central questions of the play is whether Faustus dams himself entirely on his own or whether the princes of hell somehow entrap him. How do you respond to this question? While it is Mephastophilis and Lucifer who allow Faustus to access supernatural powers, it is Faustus’ own self-centred nature that blinds him from the more macabre elements of the agreement between him and Devil. Throughout the play Faustus focuses on what he wants to achieve with his powers and the help of Mephastophilis for example while contemplating on what dark magic can achieve he mentions how he can “wall all Germany with brass” and “fill the public schools with silk”. This could show that while Faustus has got a desire to learn, his emphasis on material objects distracts related to wealth distract him from observing the immoral deal that he is about to undertake.
Additionally, he is associated with salamanders—at the time of the play, thought to live in fire—multiple times. Both brothers are also even more directly connected to hell through constant associations with the devil. Antonio says “the devil speaks in” (1.1.177) the Cardinal’s lips, and Bosola describes Ferdinand's manipulation as: “Thus the devil/Candies all sins o’er” (1.1.266-7). These are but two of several instances. This hell on Earth serves to emphasize just how virtuous the Duchess is, and how much
Katrina Lexa Mr. Lapeyre AP Hum III- 4/5 March 4, 2013 Dante's Inferno Canto V Rhetorical Analysis Inferno was written in the early fourteenth century by Dante Alighieri as part of the Divine Comedy which is Dante's fictional account of himself traveling through the three divine realms: Hell, Purgatory, and Heaven. The fifth canto takes place in the Second Circle of Hell which Dante notes is slightly smaller than the First Circle because he believes Hell is shaped like a funnel with each successive circle being slightly smaller than the one before it. In the Second Circle Dante the Pilgrim and Virgil encounter where the Lustful are tossed around by endless storms. Dante the Poet's purpose in this canto is to establish that love and lust are primal forces that cannot be controlled. Dante's use of bird imagery in Canto V creates vivid images of the souls being buffeted by the storm.