Dantes masterpiece the Divine Comedy is now considered by many critics as one of the most prominent works in the history of the world literature. This epic poem represents philosophical, religious and ethical views of the Middle Ages. It is saturated with allusions to the Bible, particularly to the Gospels. This paper aims to compare and contrast the last canto of the Inferno and the last canto of the Paradise. These parts throw light on the authors vision of good and evil, sin and virtue. During the analysis, it is necessary to focus on the use of stylistic devices, the structure of verses and most importantly symbolism. This may help us get better understanding of the main message which Dante wanted to convey. At this point, we need to say that there may be a great number of interpretations, and even now scholars try to rediscover new dimensions of the Divine Comedy.
The first and most obvious similarity is the use of terza rima or a verse which consists of three lines. In fact, the entire poem is written in this way and Dante is believed to be the first person who used it so extensively. The number three occurs in both cantos. For instance, the narrator describes God in the following way:
“Within its depthless clarity of substance
I saw the Great Light shine into three circles.
In clear three colors bound in one same space” (Dante et al, 393). Many commentators of The Divine Comedy believe that number three symbolizes the Holy Trinity: the Father, the Son, and the Holy Spirit. Yet, this is just a hypothesis, which is briskly debated nowadays. Still, we may say that Christian worldview is traceable throughout this poem. Paradoxically, number three is also present in the last canto of Hell. It should be borne in mind that Satan is surrounded by the three most perverted sinners, Brutus, Cassius, and Judas Iscariot. Naturally, it is just the authors subjective opinion: actually, Dante places them in the last circle of hell because in his view treachery is the deadliest sin. Apart from that, Satan has three faces. (Dante et al, p 176). To some extent, this is a direct opposition to the Holy Trinity. But this symbol also means that evil can take various disguises or masks, and it is rather difficult to uncover it.
Another feature which is of great interest is the fact that neither God nor Satan utters a single word. In Inferno, Lucifer is absolutely silent. However, Dante suggests that this fallen angel bitterly regrets his former rebellion against the Maker. The pilgrim says, “with six eyes did he weep and down three chins tricked the tear drops” (Dante et al p, 176). On the whole, it is quite possible to argue that the story-teller feels contempt for him and probably pity. In turn, Gods silence can be taken as token of his greatness and omnipresence.
In order to explain the differences existing between the two cantos, we should first analyze the plot development. Throughout the poem, the pilgrim is accompanied by other fellow-travelers. In hell and purgatory, he is guided by Virgil1. In paradise, his companion is Beatrice and only in the ninth sphere of paradise he is alone. Probably, at this point there is no need for a guide. The thing is that the main character has already passed through many stages of development and he can does not need some elses guidance.
Additionally, when Dante describes the devil, he pays close attention to every detail. His physically and moral appearance is very meticulously portrayed. In sharp contrast, the story-teller lacks words and phrases to portray God. He says:
“How weak my words fall short of my conception
Which is itself so far from what I saw” (Dante et al, Canto 33 p 393).
In this way, the poet wants to emphasize the idea that higher power cannot be fully defined nor understood by a human being. Faith is the only way to do it but only very few people have faith. Besides, the poet thinks that this image of God is very ephemeral or temporal. When the narrator returns to the earthly life, he says that “one instance brings him forgetfulness” (Dante et al, 397). On the whole, Dantes depiction of inferno is much more vivid and detailed especially in comparison with paradise.
At the present moment, literary critics have not come the agreement as to the true message of the authors poem. These cantos may have a great number of meanings. First of all they indicate at the authors deep religiousness and devotion to Christianity. Such symbol as Trinity, one of the main principles of Christianity can be observed in both of these extracts and in the poem in general. Moreover, Satan is viewed as a rebel and betrayer of God and such opinion is expressed only mostly the New Testament. Finally, Dante places Judas Iscariot in the ninth circle of hell. All of these examples suggest that the Gospels lie at the core of Dantes Devine comedy. Undoubtedly, the author frequently refers to Greek mythology and literature but such examples are not very numerous.
Secondly, these passages enable the reader to understand Dantes concepts of good and evil. Satan has many faces, which means that evil can take various shapes and sometimes look very noble but it always remains selfish, arrogant and pitiable, it always leads to a deadlock. Despite his former grandeur the devil appears be a horrible and at the same time miserable creature. There are practically no traces of his previous angelic nature.
This is one of the main messages which the poet wants to convey to the audience. Secondly, he wants to convince the reader that people cannot understand God. He is beyond the powers of our understanding.
The explanation that we have provided in this essay is by no means conclusive. Each reader of the Divine Comedy may open new sides of this poem because this text abounds in various symbols, allusions to the Bible, mythology and the world history.
The cantos which we have been discussed are the most crucial parts of this work because they show how Dante sees good and evil. In these extracts, he heavily relies on biblical tradition, especially while using number, for instance, three such three circles, representing God, three-faced Devil, three-lined verses. As it has been mentioned before, this number may be a sign of the Trinity. But the narrator struggles with words in his effort to describe God. The cantos represent medieval vision of good and evil and most importantly the Dates devotion to Christian tenets.
Works Cited
Alighieri, Dante. Bondanella, Peter. Longfellow Henry. The Inferno. Spark Educational Publishing, 2003.
Alighieri Dante, Musa Mark. The Divine Comedy: Paradise. Penguin Classics, 1986.