Description
We will focus on Rome and the Roman Empire
Dante, The Divine Comedy (review period historical background and its cultural relationship to the Greek tradition, especially Virgil’s contribution.)
Lesson Content
2.1. Reading Assignment
Dante’s (1265-1321) The Divine Comedy, considered the preeminent work of Italian literature, is an epic poem. It takes a tripartite structure:
1. Inferno – This links to your free e-book from GutenbergProject.org. Click to open to read
2. Purgatorio – This links to your free e-book from GutenbergProject.org. Click to open to read
3. Paradiso This links to your free e-book from GutenbergProject.org. Click to open to read
Circle 2 Canto 5 Study Questions
Study Questions
What is the logical relationship between the vice of lust and its punishment in Dante’s
hell?
Why is Dante moved to tears after Francesca’s description of love (5.100-7) and why does
he finally fall “as a dead body falls” after her personal account of her intimate relationship
with Paolo (5.127-38)?
The episode of Francesca and Paolo, the first in which Dante encounters someone
punished in hell for their sins, presents a challenge: Dante-character is overcome by
compassion for the lovers even as Dante-poet has damned them to hell in the first place.
What are possible consequences of this apparent gap between the perspectives of the
character and the poet who are both “Dante”?
From Dante’s presentation of Francesca and Paolo, we are encouraged to consider the
place of moral responsibility in depictions of love, sex, and violence in our own day. We
can certainly discuss music, television, movies, and advertising (as well as literature) in
these terms. Who is more (or less) responsible and therefore accountable for unacceptable
attitudes and behavior in society: the creators and vehicles of such messages or the
consumers and audiences?
Circle 9 Cantos 31-34 Study Questions
Study Questions
Why is a frozen lake an appropriate place for the punishment of traitors in the
lowest circle of hell? Describe the general contrapasso for treachery.
The Giants and Lucifer are proud figures who appear divided, with only the top
halves of their bodies visible to Dante and Virgil. Similarly, half the bodies of
Cassius, Judas, and Brutus are inside Lucifer’s massive jaws. Count Ugolino, on
the other hand, is doubled with his mortal enemy, Archbishop Ruggieri. Can you
think of other divided or doubled figures entangled in Dante’s infernal web of
pride?
Envy is the other capital sin not assigned a specific circle or region in Dante’s hell.
Do you see evidence of envy in the final circle of hell? in previous circles?
Find examples of Dante’s “participation” in these cantos describing the circle of
treachery.
Why do you think stelle–“stars”–is the last word of all three parts of the Divine
Comedy?
Changing Values
As a relatively privileged European man of the late Middle Ages, Dante certainly
shares – despite his intellect and imagination – many views that we moderns
might rightly consider unenlightened. These could include religious and ethnic
intolerance, a reductive attitude toward women, and a heterosexist
understanding of love and sexuality. In some respects – for instance, his
advocacy of the empire (and opposition to more democratic, republican ideas) –
he could be considered reactionary even for his own time and place.
While we might think of ourselves as enlightened, open-minded people today,
what might our descendants say about us a century or two from now?
What specific issues or attitudes do you think will change so much in the future
that our current views may come to be seen as “medieval”?
Who is Dante’s traveling companion through the Inferno? Why would Dante have chosen this companion? Who is Dante’s traveling companion through Purgatory? Why would Dante have chosen this companion? Who is Dante’s traveling companion through Paradise? Why would Dante have chosen this companion? What effect does the choice of companion have on the text?
Insert your answer after each question – be attentive to MLA in-text citation format (lines from the literary text that illustrates your point.
https://www.gutenberg.org/files/41537/41537-h/41537-h.htm
https://www.gutenberg.org/ebooks/8795
https://www.gutenberg.org/ebooks/8799
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