Reading Notes: Dante's Inferno Part B

Reading Notes

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(Paul Chenavard's Dante's Inferno)

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The Giants

For this particular part, what I really enjoyed was the formatting or rather the continuation of the step by step theme that the journey through the rungs of the inferno ignited. By walking through each of the giants with small excerpts for each the staircase quality of the plot was able to thrive on. Out of the five giants we meet I latched onto Nimod. Whether that is because of the authors note or just the writing I am unsure but I think I am also attracted to the curse laid upon him. To lose the ability to communicate is a fate I would wish upon no one and can be such a source of pain that I was entranced by his cameo in the piece.

Ugolino

The story of Count Ugolino is a captivating one to say the least. For all intents and purposes, Ugolino was just a naive noble who paid for his foolishness in famine. Funnily Enough, I heard the story of Count Ugolino in an episode of a podcast called Lore; being slightly familiar with the piece allowed for a renewed pleasure in the reading for me. Instead of hearing a third party, Count Ugolino was able to describe his own demise which provided a fun, delicious (excuse the morbid pun) twist. 

Satan

The personification of Satan over time has evolved and twisted itself into a product of media culture. At first it was in the medium of books and novels, such as the bible and Dante's Inferno but with tv shows and movies the Devil has been shaped into a whole new beast of its own right. For me, it was intriguing to see and understand one of the first elaborate depictions of the Christian Satan. While every culture has their from of the Devil, Dante's Inferno's description is a thing of nightmares and maybe that is the key to his writing in general: to being people's sins and nightmares to the forefrront.

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All reading notes are based off of excerpts from Dante's Divine Comedy, translated by Tony Kline (2002).

Reading Notes: Dante's Inferno Part A

Reading Notes

. . .

(Paul Chenavard's Dante's Inferno)

. . .

Dante and Virgil

World building is such a timed honored craft and that can be seen in Dante's Inferno. Because the entire story is written from Dante's perspective, an effective replacement for the audience, the detail needs to be extremely descriptive for the reader to be swept up in the world. Simply the entrance into the dark woods alone sets up the entire eerie tone that the classic keeps in tact throughout the piece. I am not sure how I would work this into a story but it did teach me a lesson about how detail lets the piece survive on its own.

The Gate of Hell and Charon

This was an interesting part to read for me because when I think of Dante's Inferno I immediately skip to Dante exploring the rungs of hell. To actually read and understand the actual journey into hell provides a lot more insight into the character of Dante as well. For instance, Dante seems to act impulsively but has shame and guilt once the act is done. That is a very anxiety driven quality called being counter-phobic. This provides a good foundation for the behaviors and reactions Dante has throughout the piece. 

Limbo

Originally, I thought that limbo was a place for people who are still being judged (on whether to go to heaven or hell) were kept. But to account for the people who around before christianity is not only a smart move but a much needed one. As soon as I started reading I questioned what constituted a person being kept in hell and once that question was thought, a number of other questions followed in their footsteps. One of the marks of a great reading for me is when I have a question and it is promptly answered (unless there is mystery shrouded in such a question to provide aid to the plot). So accounting for those who were born before Christianity answers my question but also ties up any loopholes in the world.

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All reading notes are based off of excerpts from Dante's Divine Comedy, translated by Tony Kline (2002).