Professor Wilkie
Humanities 220
4/25/13
Dante’s Inferno Essay The way that Dante portrays Hell in the Inferno is very specific and filled with loads of lots of imagery. The book uses lots of figurative language, while being complimented with the very intricate descriptions of the physical world. The logic of the structure of Hell, as well as the nature of God’s action for placing people there for their crimes, shows Dante’s great imagination. Dante’s work is not anything of philosophy. The ideas that are presented are an essential part of the structure and vision of the poem and it does not seem plausible to find these as logical concepts of philosophy. Dante’s poem does an incredible job in engaging us in his ideas emotionally. The way that he does this is through his imagination and the pictures that are left in our mind through his reading. The reason that this poem is so widely enjoyed is because of the visions that they bring to us, while also generating feelings through the ideas. Very significant aspects to readings are the geography and the scale, as well as detail, which are created for us. The dimensions that are brought to us through the moral and spiritual world are extremely important. Essentially, Dante is creating a map for us. This map of the underworld allows us to orient ourselves in relation to our ideas of the underworld. If a person wants to understand a person’s vision, they must attempt to put themselves in the person’s shoes. A writer, such as Dante, understands this and makes it easier for us through his detailed descriptions. What is unique about Dante’s poem is that he is not attempting to create a whole other world for the reader. He is simply trying to take our understanding of the world and expand on it so that it is still recognizable. Dante’s map is obviously surrounded by the geometrical shape, a circle. This is the general layout of Hell. The circle has no place that it starts, ends, while also being
Cited: Dante, Alighieri, and Mark Musa. Dante 's Inferno. Bloomington: Indiana UP, 1971. Print.