Examples Of Condemn In Dante's Inferno
Tales of sinners coming to God through their journeys are quite possibly one of the most prevalent plot lines throughout western literature. Fictions of characters renouncing sin and coming to God continue to remain as the apex of relatability in narratives. A common pattern seen in these masterpieces is the existence of an external force which brings our principal character to God. In Dante's Inferno, it is Dante's literary hero, Virgil, who is tasked with bringing him to God. Virgil brings Dante to God by teaching him to condemn that which God also condemns by imparting on him the importance of cruelty to sinners. Throughout the epic, Virgil inflicts upon Dante the fear of condemnation which in turn brings Dante to God. Through the epic,
readers are taken on Dante's journey and witness his transition from a character that is seemingly unceasingly sympathetic towards sinners to an individual whose cruelty is astounding, yet this cruelty is presented as a condemnation of sin and therefore a reverence for God.
In the second circle of hell, where the punishment of true sinners begins, Dante is extremely gentle in his communication with the sinners. While speaking with Francesca, Dante bows his head, "when I had listened to those injured souls, I bent my head and held it low…" This physical expression of reverence is most often reserved for holy figures. Dante expressing this reverence for a sinner is the prime example of his spirituality at the opening of the epic; Dante holds more reverence for sinful souls that he does for God. Dante is so overcome with emotion and pity for Francesca and her lover that he collapses out of empathetic grief. Virgil however, begins the process of converting Dante rather subtly, offering a sly condemnation of Semiramis; "Her vice of lust became so customary that she made license licit in her laws to free her from the scandal she had caused." While Virgil is clearly denouncing Semiramis's lustful behavior, this criticism is tame compared to the actions he will later take.
readers are taken on Dante's journey and witness his transition from a character that is seemingly unceasingly sympathetic towards sinners to an individual whose cruelty is astounding, yet this cruelty is presented as a condemnation of sin and therefore a reverence for God.
In the second circle of hell, where the punishment of true sinners begins, Dante is extremely gentle in his communication with the sinners. While speaking with Francesca, Dante bows his head, "when I had listened to those injured souls, I bent my head and held it low…" This physical expression of reverence is most often reserved for holy figures. Dante expressing this reverence for a sinner is the prime example of his spirituality at the opening of the epic; Dante holds more reverence for sinful souls that he does for God. Dante is so overcome with emotion and pity for Francesca and her lover that he collapses out of empathetic grief. Virgil however, begins the process of converting Dante rather subtly, offering a sly condemnation of Semiramis; "Her vice of lust became so customary that she made license licit in her laws to free her from the scandal she had caused." While Virgil is clearly denouncing Semiramis's lustful behavior, this criticism is tame compared to the actions he will later take.