According to Dante, Hell exists to punish those who have sinned; each of the different punishments located in the various circles testify to the heavenly immaculateness that sins disrupt. The inscription over the gateway to Hell…
There punishments was that they were in two mobs. One mob hurled weights at each other while they were chanting “Why do you hoard?” “Why you waste?” The other mob tore each other limb from limb in the Styx. People you will find in this level of hell are the priests, cardinals, bishops and the clergy.…
“And Then There Were None..” funny isn’t it? How everyone can be so cruel to others then they pay for their sins...not so funny now is it? These hellions or creatures of the dark in the forms of human beings paid for the sins they have committed in their own mentality of being trapped. Their souls and minds were mentally and physically trapped, taken…
An Infernal Predicament Many people are intimidated by hell, yet Dante uncovers the after life, as he perceives it to be. Dante’s Inferno is an interpretation in guiding one through the importance of fulfilling a morally virtuous, Christian-belief enduring lifespan. Circle I, Limbo, is a valley filled with souls who allegedly never did anything morally wrong, but were not baptized and therefore not allowed into heaven. Dante’s beliefs in Inferno upon salvation, the afterlife and sinful nature contradict the Biblical perspective, while agreeing with the Bible on contrapasso and just judgment.…
In the house, there is only one entrance and one separate exit as the Steward tells the narrator, Encolpius and his friends “nemo umquam convivarum per eandem ianuam emissus est; alia intrant, alia exeunt” (16-18). No guests are allowed to exit the same way they entered. This clearly can be related to the Underworld with the dead entering from the ground one way by Mercury (then being ferried across the river Styx by Charon), and only being able to exit if they bathe in the River Lethe (in order to be reincarnated into another life, souls must bathe forget former selves). Another glaring similarity to the Underworld is the picture of the dog. In Trimalchio’s house, the narrator and his friends were going to be led to the door and leave when “ubi canis catenarius nos magno tumultu excepit et Ascyltos perterritus in piscinam cecidit.…
An Analysis of the Importance of the Moral and Metaphorical Punishment of Classical hell in Contrast to the Annihilationist Hell in Biblical Studies This biblical study will analyze the importance of the moral and metaphorical punishment of classical hell in contrast to the Annihilationist Hell in the Christian tradition. The Classical version of Hell is defined in the unending punishment and torment of individual that suffer for an eternity for their sins. In contrast to this view, the Annihilationist Hell is a temporal place in which sinners are destroyed. The permanence of Annihilationist views tends to veer to a place of unforgiving destruction for the individual, which defers the eternal nature of the soul in the Bible.…
Human beings have a tendency to succumb to temptation. We tend to lose ourselves into the desire of temporary fulfillment against our own reason. In Dante's Inferno, Dante discusses the circles of Hell and the sinners that must face eternal condemnation there. The way they lived on Earth determines the condition of their souls. Throughout this story, Dante uses vivid imagery to depict the severity and consequences of sins.…
Perhaps the most defining difference between the two Underworlds is the fate of the soul. In Vergil’s Underworld, after the soul’s suffering is complete, it is cleansed and may be reincarnated. However, in Dante’s hell, once a person dies, the soul is doomed to suffer eternally in hell for his or her sins. The shift from Vergil’s to Dante’s view of the afterlife is reflective of the societal progression from Augustus’ reign in Italy to Italy’s Middle Ages. Over the course of 1,400 years, as Vergil’s and Dante’s respective societies changed, the ethical standards changed accordingly.…
2) How does Dante use material from classical mythology and classical literature? Charon, the Furies, and Virgil’s discourse on Fortune egregious examples of Dante’s cultural syncretism. Dante uses the various fantastic and hellish beasts that populate Roman, Greek, Latin, and other classical mythologies to illustrate the guardians of the afterlife that he is attempting to portray to the audience. Charon, the navigator of the River Styx, is called back to do an encore of the job he had done for Inais and bring yet another living soul into the world of the dead, though in this case it is the hellish Inferno of Dante’s Christianity dominated creation and not the Underworld of Greek and Roman lore. Further, each circle of hell Dante describes…
Hell, as envisioned by Dante Aligheri in the 14th century, was classified into several circles, representing sins that fall into the themes of incontinence, violence, or fraud. Dante’s organization of The Inferno was meticulous and extremely detailed, to the point where some even labelled his Inferno as a “perfectly functioning bureaucracy” (V: Note 9-12) . While he was very successful and venerated for creating such a comprehensive idea of Hell, if his concept is the standard that must be lived up to in the modern, 22nd century that civilization lives in now, a majority of society would be condemned to the deepest circles of Hell. This influx of souls damned to the lowest part of Hell is due to the fact that some sins, that Dante’s society deemed the worst of the worst (such as those located in the spheres of fraud), have become commonplace in modern society, and have dawned a new, non-malicious connotation. Therefore, Dante’s 14th century version of the Inferno is outdated, and must be revised to reflect…
The House of Hades is a fantasy book by Rick Riordan. The book starts directly after Percy, the son of Poseidon, and Annabeth, the daughter of Athena, fall into Tartarus, a primordial deity and the darkest part of the underworld, and follows the progress of the Seven of the Prophecy as they struggle to close the Doors of Death before it’s too late. Along the way Hazel, the daughter of Pluto, takes Hestia, the goddess of magic, as her patron goddess and has to select a fate for the Seven. After selecting to go north, the crew goes to Venice and from there to Diocletian’s palace, the palace of the Roman emperor Diocletian, to find Diocletian's scepter. Once they had Diocletian’s scepter the ship was attacked by Khione, the goddess of snow and…
The House of Hades Do you like the Greek and Roman gods? If you do, this book is for you. This book is about nine demigods that are helping the gods fight the titans and the giants. The demigods have to cross over the Atlantic into Greece where the titans and giants come up from the underworld. This is a thrilling book that is a good read for all ages.…
The Aeneid follows the mission of Aeneas, a Trojan hero, to found a new city following the destruction of Troy. Throughout his voyage, Aeneas has to overcome many obstacles and persevere through all the hardships in order to create a new city for his people. The Aeneid presents a multitude of themes that begin in Book I and continue throughout the course of his journey. The concept of land versus sea presents itself as a major concept throughout Aeneas’ expedition. The feeling of being on land, versus being on the sea, are drastically different.…
For as long as there has even been a theological understanding of the existence of God, heaven and the story of humankind’s beginnings, there has been a conversation about hell. The presence of hell hearkens back to the Old Testament and the concept grows throughout the Bible until the great unveiling of its physical manifestation in the book of Revelation. It is this final understanding of what hell will be that sticks in the minds of many Christians and theologians. In fact, what has been described in the book of Revelation is the basis for the characterization of hell in popular culture and represents imagery that has since persisted through the generations.…
1. Underworlds are generally places of the dead, and/or of underground divinities. These places are dangerous and difficult for living persons to enter and hard to leave. Why does Gilgamesh go to the underworld, and what does he learn there? Use specific examples from the story to support your main points.…