They look at others as inferior in an arrogant way and see themselves as superior to all others. This is why God hates it. Pride caused Satan’s fall and the Bible says, “Pride goes before destruction, and a haughty spirit before a fall” (Prov 16:18). This is exactly what happened to Satan and what still happens to humans who boast and brag. The second one is Lust.
Specifically, Dante’s reactions with the spirits also gain new worth where they are no longer mere responses from the poet, but rather emulative reactions of the Pilgrim to the specific ambiance of each depth of Hell and his symbolic involvement in their sins. In essence, a comprehensive criterion is needed to prevent any myopic understandings of each canticle; the Inferno must not be weighed with its own scale but in terms of its relationship to Purgatorio and Paradiso. For it is in the obscurity of the perfect souls in Paradise that the spirits in Hell gain meaning, just as it is with the Pilgrim’s progressive enlightenment in the Purgatorio and
For example when Benvilio says “I do but keep the peace.” To which tybalt replies “…peace? I hate the word. As I hate hell, all montagues and thee.” Tybalt clearly expresses his anger towards the montagues by comparing them to hell. The word “hell” is very powerful and is used to insult the montagues. To be compared to hell in those days would have been extremely bad, because hell is the ultimate punishment and there is nothing worse than hell.
Dante’s Divine Comedy is an epic poem portraying the journey of a living man through the layers of Hell. Dante, with his guide Virgil, travels within the circles of Hell; all the while describing the punishments sinners must endure for eternity. When these sinners reach their level of Hell, they must face a counter-sin, known as contrapasso. The sinners are subject to a very specific punishment, as told by Dante, that relates to the sin they performed in life. Although some may view these punishments as torture being done upon sinners by a cruel God, Dante was attempting to explain God’s divine justice.
His very existence is for the destruction of the truly innocent. In religious terms the devil is the ruler of the underworld and can see into everyone’s thoughts and manipulate them into temptation. A Shakespearean audience would be fully aware of this due to the fact that they were considerably religious during the period the play was written and performed in. We see that Iago has devilish qualities about his character in the way he manipulates other into essentially doing his dirty work for him. The clever technique Shakespeare uses allows al the characters to perceive Iago as ‘honest’ and quite pure and heavenly like.
A Reader’s Morals Without Dante Alighieri living in the present to give us the purpose and message of writing The Divine Comedy, we can only rely on the accuracy of the translators and our own perspective of the poet’s poem. While examining Canto IV, the religious views of the poet seem to be the major influence of how the damned should be judged. In addition, in Canto XIII, violence against oneself will also grant one a reservation in the seventh circle of hell, regardless of one’s intentions. The characters in Limbo don’t deserve to suffer forever in hell, nor does Pier delle Vigne for taking his own life. The intention of these “sinners” was to never go against God or commit crime, which is very disturbing.
The Scarlet Letter by Nathaniel Hawthorne is a fantastic piece of American antitranscendentalism because in that it shows that humans are naturally evil, sinful, and guilty. Hawthorne's protagonist, Hester Prynne, shows in excellent example how human nature can be sinful. Although she is depicted as beautiful, angelic, and almost the epitome of perfection, Hawthorne reveals in his story how eyes are deceiving and humans are sinners by nature. Hawthorne writes, "Here, there was the taint of deepest sin in the most sacred quality of human life, working such effect, that the world was only the darker for this woman's beauty, and the more lost for the infant that she had borne," (Hawthorne, 39). Prynne commits adultery in the novel, one of the most unforgivable sins.
To be a successful guide, he needs to guide Dante not only through hell physically, but also spiritually. At numerous other points, Virgil shows his authority by dealing with deterrence that occurs during their journey, “Quit grumbling, Charon…only know that this is willed where power is power to do whatever it will” (C. 3, LLs. 94-96) after saying this,
There are also other specific situations that demonstrate Virgil’s ignorance of Catholicism, which relates to his placement in hell. Virgil not only aids Dante as the guiding character in the Inferno, but also aids Dante in his writing of the Inferno as a poet. Dante calls Virgil his "master and author (Canto I)," which emphasizes how important Virgil has been for Dante as a poet and a philosopher. “Dante borrowed as well from Virgil the poet much of his language, style, and content.” Because Virgil is made out to be an atheist, Dante being Christian could not copy Virgil’s exact outline but instead created a hell distinct from, yet still reminiscent of Virgil’s Underworld of Book VI. Dante’s interpretation resembled a more Catholic understanding of what hell should be like and modernizes Virgil’s perspective into what sort of people and crimes are deserving of hell’s occupancy.
To start, the lukewarm spirits are stung to the point that their “faces irrigate with blood,” which brings with it a feeling of justification (Alighieri III). As the Bible clearly states that it is better to be completely against God than a lukewarm, uncaring soul, the neutral sinners are given the punishment that they deserve, proving God to be one of justice, and supremacy. Next, as Dante travels on to the first circle of Hell the reader comes across a mood of hopelessness; moreover, the sinners are “without hope” as they “live on in desire,” replicating a humanly life without God (Alighieri IV). The mood in this canto acts as a tool to show “the holy power” of God in the way that dark feelings arrive in the midst of his absence, making him light (Acocella). After this, Dante approaches an “infernal hurricane that never rests,” and creates a chaotic atmosphere for the reader (Alighieri V).