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Cite This Study Guide

How to Cite This Study Guide

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Course Hero. "Inferno Study Guide." August 17, 2016. Accessed May 18, 2021. https://www.coursehero.com/lit/Inferno/.

Footnote

Course Hero, "Inferno Study Guide," August 17, 2016, accessed May 18, 2021, https://www.coursehero.com/lit/Inferno/.

Overview

Perspective and Narrator

Inferno is told from the first-person point of view. As Dante goes on the journey through Hell, readers experience it along with him.

Tense

Inferno is written in the past tense.

About the Title

Inferno is the first part of The Divine Comedy, which explores the three parts of the afterlife. The entire Divine Comedy includes Inferno (Hell), Purgatorio (Purgatory), and Paradiso (Heaven).

Summary

This study guide and infographic for Dante Alighieri's Inferno offer summary and analysis on themes, symbols, and other literary devices found in the text. Explore Course Hero's library of literature materials, including documents and Q&A pairs.

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Cite This Study Guide MLA Bibliography Course Hero. "Inferno Study Guide." Course Hero. 17 Aug. 2016. Web. 18 May 2021. . In text (Course Hero) APA Bibliography Course Hero. (2016, August 17). Inferno Study Guide. In Course Hero. Retrieved May 18, 2021, from https://www.coursehero.com/lit/Inferno/ In text (Course Hero, 2016) Chicago Bibliography Course Hero.

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Why should you read Dante's Divine Comedy? (TED Ed)

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Why should you read Dante's Divine Comedy? (TED Ed)

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Why should you read Dante’s “Divine Comedy”? - Sheila Marie Orfano

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Dante's Inferno (Modern English Translation) : Free Download, Borrow, and Streaming : Internet Archive

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A line drawing of the Internet Archive headquarters building façade.

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This is a website that has a different translation of Dante's Inferno that may be easier for some of you. The website also has some information for each Canto regarding people, places, etc. that are present which could be helpful for your Study Guide.

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which serves to lead men straight along all roads.

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Google is improving its sign-in page with a more modern look and feel

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The illustrated and interactive Dante's Inferno provides an alternative mode of access to the Divine Comedy first Cantica, a complex text relying on an evident topographical structure.

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seven deadly sins | Definition, History, Names, & Examples

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seven deadly sins | Definition, History, Names, & Examples

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This article was most recently revised and updated by

seven deadly sins, also called seven capital sins or seven cardinal sins, in Roman Catholic theology, the seven vices that spur other sins and further immoral behaviour. First enumerated by Pope Gregory I (the Great) in the 6th century and elaborated in the 13th century by St. Thomas Aquinas, they are (1) vainglory, or pride, (2) greed, or covetousness, (3) lust, or inordinate or illicit sexual desire, (4) envy, (5) gluttony, which is usually understood to include drunkenness, (6) wrath, or anger, and (7) sloth. Each of these can be overcome with the seven corresponding virtues of (1) humility, (2) charity, (3) chastity, (4) gratitude, (5) temperance, (6) patience, and (7) diligence.

The seven deadly sins can be thought of as dispositions toward sin and separation from God. Lust, for example, could result in adultery, which is a mortal sin, or could lead to somewhat less intentional immoral thoughts that would be classified as venial sins. The deadly sins were a popular theme in the morality plays, literature, and art of the Middle Ages in Europe.

The Editors of Encyclopaedia Britannica Melissa Petruzzello.

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seven deadly sins | Definition, History, Names, & Examples

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Seven deadly sins, in Roman Catholic theology, the seven vices that spur other sins and further immoral behavior. They were first enumerated by Pope Gregory I in the 6th century and later elaborated by St. Thomas Aquinas. The seven deadly sins can by overcome with seven corresponding virtues.

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Schiaparelli couture show featured animal heads inspired by Dante’s Inferno – here’s what they mean

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Schiaparelli couture show featured animal heads inspired by Dante’s Inferno – here’s what they mean

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The spectacle of the spring/summer 2023 Schiaparelli couture show began before a single model set foot on the runway.

Media personality Kylie Jenner arrived wearing a lifelike faux taxidermy lion on her shoulder and rapper Doja Cat came as a bedazzled devil, painted head to toe in red and studded with 30,000 crystals.

Both costumes were a nod to the inspiration behind creative director Daniel Roseberry's show - Dante's Divine Comedy (1320).

In Roseberry's show notes, he described the collection as an "homage to doubt".

I wanted to step away from techniques I was comfortable with and understood, to choose instead that dark wood where everything is scary but new ... Inferno, Purgatorio, Paradiso: One cannot exist without the others ... It is a reminder that there is no such thing as heaven without hell; there is no joy without sorrow; there is no ecstasy of creation without the torture of doubt.

Into the woods

The "dark wood" Roseberry speaks of is the setting for the first canto of Inferno, where pilgrim Dante can be found, having lost his way on the path towards truth. Dante looks up to see a high mountain bathed in sunlight and it gives him hope.

As he attempts to climb the holy mountain, Dante encounters three beasts - a leopard, a lion and a she-wolf. He is forced back down into the dark woods by the she-wolf, where he is visited by the Roman poet Virgil, who acts as his spiritual guide into the inferno (hell).

The beasts of the Schiaparelli show appear in the same order. A strapless faux fur dress with the roaring head of a snow leopard was the tenth item on show, followed by the lion dress seen on Kylie Jenner ( look 15) and finally Naomi Campbell wearing a black shaggy jacket with a she-wolf's head peeping out of the shoulder ( look 30).

Beastly meanings

Canto I, in which these beasts appear, is one of the most discussed by scholars and there are multiple interpretations of the animals and their meaning. Most scholars agree that the animals are allegorical - representations of the sins of man that stop him reaching the truth of God. However, the specific sins they represent are debated.

One view holds the leopard represents lust, the lion, pride and the she-wolf greed.

In Dante's day, leopards were often incorporated into coats of arms for children of adultery, as the animal was associated with heat and desire. Evidence of the lion symbolising pride can be found in the Inferno, as it is described as having its "head held high". Meanwhile the she-wolf is described as "laden in her meagreness", "with all her hungerings", representing greed.

Other scholars have argued that the beasts represent all of humanity's sins. The circles of the Inferno are divided into three sections. The uppermost are the sins of "incontinence" (inability to control desires), in the middle there are sins of violence and in the lowest circles of hell are sins of fraud.

In his Introduction to the Divine Comedy (1910), critic Francesco Flamini argues that the three beasts represent the three categories of sin in Dante's Inferno - the leopard is fraud, the lion, violence and the wolf "incontinence". Some critics invert this and see the leopard as incontinence and the she-wolf as fraud, as this would mirror the order in which the reader encounters these sins in the poem.

Writer and translator Aldo Benardo proposed an argument supporting Flamini's order (leopard as fraud, lion as violence, she-wolf as incontinence). He suggests that we imagine Dante's perspective as similar to Satan's - one of looking up through the circles of hell towards the heavens. From Satan's point of view, he sees fraud first, then violence and finally incontinence.

Unlike Satan, Dante can see beyond up to the light on the top of the mountain and the celestial objects. Benardo argues that Dante presents us with a view of creation "from bottom to top".

Medievalist John G. Demaray argues that there is also a literal interpretation of the three beasts. The shore, desert and mountains of the Inferno recall the shores, deserts and mountains of the Biblical Exodus route for pilgrims during Dante's time, where it was common for travellers to encounter such beasts.

Perhaps the leopard, lion and she-wolf can be read as representing both the physical and spiritual threats that pilgrims were likely to encounter on their travels from Egypt to Mount Sinai.

What does this mean for Schiaparelli?

This brings us back to the Schiaparelli show. Speaking of the inspiration he found in Dante, Roseberry notes: "No ascension to heaven is possible without first a trip to the fires, and the fear that comes with it."

The literal rendering of Dante's beasts in Schiaparelli's spring/summer show serve as reminders of this creative journey.

With Dante's allegory in mind, perhaps the celebrities wearing Schiaparelli's beast heads could be seen to represent the spiritual threats that stand between the modern day "everyman" (formerly Dante's pilgrim) and peace. Maybe celebrities themselves have become the new beasts, representing as they do great material wealth, desire and the fraud of online influencing.

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Schiaparelli couture show featured animal heads inspired by Dante's Inferno - here's what they mean

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An expert in Dante and Schiaparelli explains how the fashion house's new show transforms celebrities into the 'new beasts' of the Inferno.

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How can a poet who wrote 700 years ago in medieval Italy possibly be relevant to today's world? This is a question I try to answer in my book Reading Dante [Liveright, $28.95].

The Divine Comedy tells the story of Dante's journey to the afterlife: to hell, purgatory and paradise, where he meets and talks to the souls of the dead. The wicked are punished in hell, the repentant purge their sins in purgatory, the blessed are in paradise where they enjoy the vision of God. Dante himself sees God at the end of his journey in the final lines of the poem. This may all seem very remote to modern readers, especially those who do not share Dante's Christian faith.

But in fact Dante's concerns in the poem are those of any thoughtful person in any age or place: what is it to be a human being? how do we judge human behavior? what is important in a life or a death? Human behavior, our own and other people's, is at the core of human experience in this world. A poem which encourages us to reflect on that behavior in all its countless manifestations will always be relevant.

We engage with these questions through the stories Dante tells in the Commedia. There is his own story (how he came to be the person who writes the poem we are reading), and there are the stories of the people he meets on the journey. The stories of their lives are endlessly fascinating: the predicaments they found themselves in, how they came to make the choices they made, why they have ended up damned or saved.

Those stories involve human emotions we can all recognize and relate to: love, hate, anger, fear, joy, anxiety, bewilderment, despair. The poem invites us to think about these powerful feelings and their place in human life - to reflect on them not just in relation to our own experience but also to the wider scheme of things.

Issues of individual conscience are set against a broader framework. How should human society be organized to ensure people lead fulfilling lives? Questions like this emerge naturally from the stories of the people Dante meets. We will not always agree with his views on these matters, but his answers will at the very least force us to think.

Dante has always been controversial. The Comedy was considered a dangerous work by many of his contemporaries, not least by the church authorities in his own Catholic religion. He was anything but an orthodox thinker. His profound originality and capacity to think outside the box is one of the enduring aspects of his appeal - an inspiration to any reader at any time in history.

One of the lessons the poem teaches is the need to stand up to injustice and the abuse of power. Astonishingly to modern eyes, in Dante's eyes the arch-villain was the pope himself, the head of the Catholic church. We come upon a whole series of corrupt popes in hell. The punishment they suffer is disturbing and surreal, equal to anything you might come across in a horror film. For the popes as for everyone else in hell, each kind of sin is punished in a different way. Dante is endlessly inventive in making the punishment fit the crime. Corruption in the church, in our supposed spiritual leaders, is a subject not without contemporary relevance.

Another lesson of the poem is the destructive effect on human life of greed, whether greed for money or greed for power. The two usually go together. Again there is a powerful resonance with modern life, in an age characterized by the excesses of hedge fund managers and financial speculators. One of Dante's most scornful lines almost seems to have been written to describe them: la gente nuova e i subiti guadagni ("the new people and the instant profits").

A production of Shakespeare's King Lear currently on in London, starring the marvelous actor Simon Russell Beale as Lear, has set all the critics talking about the extraordinary relevance of the play to the modern world. The themes of dementia, of an aging parent, of the power shift between the generations as time passes, are as relevant in today's world as they were in the time of a mythical medieval king. The play speaks as powerfully to a modern audience as it ever did.

As for Shakespeare, so for Dante. Italy's great medieval poet is the equal of England's great Renaissance playwright in the power of his imagination and the expressive force of his language. His capacity to harness both has created a poetic work whose relevance is universal and timeless. The Comedy is as relevant today as it ever was.

Related

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How can a poet who wrote 700 years ago in medieval Italy possibly be relevant to today's world? This is a question I try to answer in my book Reading Dante [Liveright, $28.95]. The Divine Comedy tells the story of Dante's journey to the afterlife: to hell, purgatory and paradise, where he meets and talks to the souls of the dead.

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Few works of literature have had the lasting and extensive influence of Dante's "Inferno." Just take a walk by Cantor to see how Auguste Rodin was inspired by the Inferno: The Thinker, the Gates of Hell and the kiss between Francesca and Paolo. Great writers as diverse as Chaucer, Balzac, T.S. Eliot and Primo Levi were influenced by Dante and borrow heavily from his work in the "Inferno."

Often, people try to render Dante's "Inferno" more comprehensible by creating adaptations that fit Dante's classic to a modern context. Though modernization of classical literature can further understanding, perhaps it is even more essentialto defamiliarize our reality by placing it in the mirror of the Inferno.

Let's descend, shall we?

Excess. A concept that is visible in several sins in Dante's circles of Hell. One such set of sinners are the gluttonous. Gluttony is, of course, the compulsion or inability to stop eating. However, it extends much beyond the literal excessive consumption of food. Gluttony can be seen in the insatiability of modern capitalism. It represents the desire to constantly consume, to always have the best and the newest products. Without gluttony, capitalism and consumerism would cease to exist. Furthermore, the foundations of modern capitalism originate in the sin of usury, or the practice of lending money with high rates of interest. Usury is commonplace in our banking system.

In Dante's Inferno, the punishments that sinners receive are a direct response of the sins that they committed. This is known in Italian as contrapasso, or counter-suffering. The lustful are eternally battered by capricious winds, and the heretics are locked in tombs. Essentially, contrapasso is retributive justice.

Though contrapasso punishments are in the spirit of the law, we must ask: does that make them right? It is a pertinent question, as retributive justice exists today, both in legal systems and unofficially. Capital punishment is legal in on death row were executed in the US. Between 1985 and 2003, 22 people were killed for crimes that they had committed as juveniles. Though 31 states in the United States. In 2017, 23 individuals Roper v. Simmons in 2005 outlawed this practice and declared it unconstitutional, for nearly 20 years, our criminal justice used retributive justice to punish individuals who had committed crimes before they even had the right to vote.

Furthermore, it is not proven that retributive justice actually deters crimes. In 2012, the National Research Council released a reportthat stated that previous studies that showed the death penalty provided an incentive against murder were "fundamentally flawed." Additionally, the 2016 FBI Uniform Crime Report found that though the South is responsible for more than 80 percent of executions from death row, the South also has the highest murder rate in the country.

Thus, we must ask ourselves, what kind of justice relies on such extreme punishments? Especially as we descend further into Hell, the punishments become even more deliberately enormous. "Enorme" in Italian, in fact means beyond norm. The Hell in Dante's Inferno is visible all over our world whenever a higher power believes in the right to distribute justice.

Outside of official legal systems, the desire for retributive justice can launch us into the infernal cycle of reciprocal violence that has plagued humanity for most of our history. Inherently, the thirst for retaliation comes from hatred. Thus, people always seem to retaliate in excess, leading to perpetual escalation.

This quest for excessive retaliation splits people into an "us vs. them" mentality and today, many societies in our world are splitting into factions. There is discord about accommodating refugees and fulfilling international commitments such as the Paris Climate Agreements. Italy's most recent election illustrates the anti-European Union and anti-immigration sentiments in the country. The rise of populism in Italy, especially stronger right-wing influence in some circles, deepens the schism between people of differing political beliefs. Italy's politics show that though French voters managed to defeat Marine Le Pen and turn away from the right, Europe's populist days are far from over.

In the United States too, we are living in an extremely polarized, fragmented society. Democrats fight Republicans. Pro-choice against pro-life. Everything has turned into an "us vs. them" mentality, and there is no space for dialogue with the other side. We forget our neighbors. Sometimes, we appear to let hate and anger triumph over what is good and what is just. However, retaliation against others only serves to create greater factions between opposing sides and more fear, violence and anger. Through mimetic violence, we can become indistinguishable from our enemies.

In this polarized time, it is important to remember Dante and the dangers of division and retaliation. When Dante crosses the bridge into the tenth and final subcircle, or bolgia, of Malebolge, he sees Geri del Bello, who was father's first cousin, shake his fist at him. In his life, Geri del Bello was infamous for sowing discord. Geri del Bello was killed by a warring faction in Florence and is angry that Dante has not avenged his death. While Dante feels momentary guilt that he has not avenged his kinsman, he does not act. Dante's choice illustrates that though anger and anguish can lead to a thirst for retaliation, it's possible to recognize that this is not the best course of action.

Excess and power follows Dante further into Hell. Infamous giants from mythology and Christianity connect the eighth and ninth circles of Hell. These giants are enormous figures with tremendous physical power. However, the strength of the giants comes without intelligence. The belief in entitlement to power lies in the psychology of megalomania. We can see this destructive psychology in the corruption, abuse, scandal and crimes that President Trump and his advisors have committed, illustrating the dangers of power without intelligence. An egocentric thirst for power is a dangerous and frightening characteristic in one of the leaders of the free world.

In light of our current world climate, Dante's final lesson is that even neutrality and passivity are incredibly dangerous. In the first circle of Hell, Dante passes sinners who never chose a side in life. He does not even choose to engage with them. Those who remained neutral even when morality was at stake do not get their own speeches in the Inferno. As my professor, Robert Harrison, said, "Beware of neutrality when the situation demands an existential decision." Thus, even though choosing sides can be divisive, it is also essential. People need to act; to mobilize to defend the issues and values that they care about: basic human rights, equality, the environment, the climate. The world, now more than ever, needs good advocates. And while fighting for what you believe in, do not forget to speak to your neighbors and your adversaries. Dante engages with people in each circle. He never pretends to be morally superior to anyone and his experiences show that we can all be susceptible to immoral action.

Dante probes his sinners' psyches deeply. Many of the sinners' speeches appear as a stream of consciousness, which can be a mind trick to avoid self-confrontation. This form of speaking using a self-reflective self-consciousness is widely used in modern literature. As Professor Harrison said, "In literary history, history does not matter." All literature and all stories can be contemporaries of one another. Thus, some of the seemingly incomprehensible anger, violence and egoism in our world can be contextualized through Dante's "Inferno."
Contact Sophie Stuber at sstuber8 'at' stanford.edu.

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Few works of literature have had the lasting and extensive influence of Dante's "Inferno." Just take a walk by Cantor to see how Auguste Rodin was inspired by the Inferno: The Thinker, the Gates of Hell and the kiss between Francesca and Paolo. Great writers as diverse as Chaucer, Balzac, T.S.

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Spice Up Your Writing With These 414 Adjectives and Delight Your Readers

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Spice Up Your Writing With These 414 Adjectives and Delight Your Readers

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Spice Up Your Writing With These 414 Adjectives and Delight Your Readers

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414 alternatives to the 25 most boringly common written adjectives

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Word Lists & Flashcards | Dictionary.com

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Dictionary.com word lists, categorized by topic and curated by our editors. Perfect for learning vocabulary, test preparation, and so much more!

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A 21st-Century Illuminated Manuscript and the Artistic Tradition of Dante’s Inferno – Digital Dante

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A 21st-Century Illuminated Manuscript and the Artistic Tradition of Dante’s Inferno – Digital Dante

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A 21st-Century Illuminated Manuscript and the Artistic Tradition of Dante’s Inferno – Digital Dante

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Digital Dante offers original research and ideas on Dante: on his thought and work and on various aspects of his reception.

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170 Cool Adjectives That Will Add Color To Any Sentence

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170 Cool Adjectives That Will Add Color To Any Sentence

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170 Cool Adjectives That Will Add Color To Any Sentence

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These words will sprinkle color on the greyest sentence, so quit being craven and start reading!

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By Mark Nichol - 2 minute read

Adjectives - descriptive words that modify nouns - often come under fire for their cluttering quality, but often it's quality, not quantity, that is the issue. Plenty of tired adjectives are available to spoil a good sentence, but when you find just the right word for the job, enrichment ensues. Practice precision when you select words. Here's a list of adjectives:

Adamant: unyielding; a very hard substance
Adroit: clever, resourceful
Amatory: sexual
Animistic: quality of recurrence or reversion to earlier form
Antic: clownish, frolicsome
Arcadian: serene
Baleful: deadly, foreboding
Bellicose: quarrelsome (its synonym belligerent can also be a noun)
Bilious: unpleasant, peevish
Boorish: crude, insensitive
Calamitous: disastrous
Caustic: corrosive, sarcastic; a corrosive substance
Cerulean: sky blue
Comely: attractive
Concomitant: accompanying
Contumacious: rebellious
Corpulent: obese
Crapulous: immoderate in appetite
Defamatory: maliciously misrepresenting
Didactic: conveying information or moral instruction
Dilatory: causing delay, tardy
Dowdy: shabby, old-fashioned; an unkempt woman
Efficacious: producing a desired effect
Effulgent: brilliantly radiant
Egregious: conspicuous, flagrant
Endemic: prevalent, native, peculiar to an area
Equanimous: even, balanced
Execrable: wretched, detestable
Fastidious: meticulous, overly delicate
Feckless: weak, irresponsible
Fecund: prolific, inventive
Friable: brittle
Fulsome: abundant, overdone, effusive
Garrulous: wordy, talkative
Guileless: naive
Gustatory: having to do with taste or eating
Heuristic: learning through trial-and-error or problem solving
Histrionic: affected, theatrical
Hubristic: proud, excessively self-confident
Incendiary: inflammatory, spontaneously combustible, hot
Insidious: subtle, seductive, treacherous
Insolent: impudent, contemptuous
Intransigent: uncompromising
Inveterate: habitual, persistent
Invidious: resentful, envious, obnoxious
Irksome: annoying
Jejune: dull, puerile
Jocular: jesting, playful
Judicious: discreet
Lachrymose: tearful
Limpid: simple, transparent, serene
Loquacious: talkative
Luminous: clear, shining
Mannered: artificial, stilted
Mendacious: deceptive
Meretricious: whorish, superficially appealing, pretentious
Minatory: menacing
Mordant: biting, incisive, pungent
Munificent: lavish, generous
Nefarious: wicked
Noxious: harmful, corrupting
Obtuse: blunt, stupid
Parsimonious: frugal, restrained
Pendulous: suspended, indecisive
Pernicious: injurious, deadly
Pervasive: widespread
Petulant: rude, ill humored
Platitudinous: resembling or full of dull or banal comments
Precipitate: steep, speedy
Propitious: auspicious, advantageous, benevolent
Puckish: impish
Querulous: cranky, whining
Quiescent: inactive, untroublesome
Rebarbative: irritating, repellent
Recalcitrant: resistant, obstinate
Redolent: aromatic, evocative
Rhadamanthine: harshly strict
Risible: laughable
Ruminative: contemplative
Sagacious: wise, discerning
Salubrious: healthful
Sartorial: relating to attire, especially tailored fashions
Sclerotic: hardening
Serpentine: snake-like, winding, tempting or wily
Spasmodic: having to do with or resembling a spasm, excitable, intermittent
Strident: harsh, discordant; obtrusively loud
Taciturn: closemouthed, reticent
Tenacious: persistent, cohesive,
Tremulous: nervous, trembling, timid, sensitive
Trenchant: sharp, penetrating, distinct
Turbulent: restless, tempestuous
Turgid: swollen, pompous
Ubiquitous: pervasive, widespread
Uxorious: inordinately affectionate or compliant with a wife
Verdant: green, unripe
Voluble: glib, given to speaking
Voracious: ravenous, insatiable
Wheedling: flattering
Withering: devastating
Zealous: eager, devoted

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By Mark Nichol - 2 minute read Adjectives - descriptive words that modify nouns - often come under fire for their cluttering quality, but often it's quality, not quantity, that is the issue. Plenty of tired adjectives are available to spoil a good sentence, but when you find just the right word for the job, enrichment ensues.