As Dante is supported, both physically and mentally, by his guide Virgil throughout Canto 17, he demonstrates his independence and his growing understanding through his analysis of the events he faces. Dante must call upon the spiritual and mental understanding he gains in this song to overcome the challenges that hinder him in later songs. In fact, even translations of Inferno that differ significantly agree on these aspects of Dante's evolution as a protagonist. Say no to plagiarism. Get a Custom Essay on "Why Violent Video Games Should Not Be Banned"? Get an Original Essay In preparation for the journey to the Eighth Circle, Dante and his trusted guide, Virgil, examine "the beast with the sharp tail, which passes through the mountains and pierces the walls and armor” which will bring them to the lower realms of Hell (Inf. 17.1-2). Dante takes a moment to examine the mythological monster whose “face was that of a righteous man…and the rest was that of a serpent” (Inf. 17.10-11). Later, Virgil reveals his name is Geryon. Before Virgil orders the beast to act as their vessel, he asks Dante to "take away all the experiences of this sub-circle" upon seeing the last of the sinners in the seventh circle. (Inf. 17.37-38). The shadows Virgil refers to are moneylenders condemned to look at the “special colored bag, with a special emblem” that hangs from their necks. After briefly speaking with them, Dante returns to Virgil and together they mount Geryon beginning their descent into the eighth circle. During the descent, Dante observes “the great evils approaching on all sides” (Inf. 17.125-126). Once they dismount, Geryon quickly disappears. If Dante's interactions with Geryon are not independent of Virgil, his analysis thus shows his progression towards independent thought. Dante uses Geryon to personify the traits of fraud since “fraud renders useless all physical barriers and defenses (mountains, walls, and armor)” (Martinez and Durling 268). He notes the physical appearance which contributes to Geryon's "dirty image of fraud" by comparing the beast to German skiffs "positioned for war" and describing in additional detail its tail as a "poisoned fork which arms its points like that of a scorpion. (Inf. 17.7, 20-22, 26-27). These two comparisons highlight the juxtaposition between Dante's use of the word "gentle" describing Geryon's upper half and the brutality of what follows beneath the rest of the "wicked beast's" torso (Inf. 17.23). From this interaction, Dante strengthens his ability to discern inner deception from the superficial exterior that often overlooks fraudulent acts and sinners. Later, Dante draws on his ability to see through the facade of fraud while denouncing Odysseus in canto 26. When Dante approaches the loan sharks, he walks "all alone" (Inf. 17.44). Virgil encourages Dante's exploration through self-study which illustrates Dante's acquired autonomy. Although Dante's time with the sinners is concise, his descriptions are not. As he describes it, the moneylenders continue to vainly hope that their money and family stature will guarantee them immortality through the inheritance they have left on Earth (Inf. 17. 55-56). However, as Dante's analysis suggests, ignorance besieges these shadows, for true immortality is granted by divine power and not by the power of one's wallet. Although his independence grows, Dante still depends on Virgil in intimidating situations. Turning to his guide, he isasked Dante to “be strong and bold” as they descend into the eighth circle (Inf. 17.80-81). Dante later adapts this phrase. Combating the exhaustion he faces in Canto 24, Dante asserts, "I am strong and bold," emphasizing his growth as an individual and the need to continue moving forward despite adversity (Inf. 24.59-60) . While Dante is unable to verbally communicate his fears in Canto 17, Virgil understands Dante's unspoken emotions and "grabs and binds [Dante] with his arms" (Inf. 17.95-96). Upon departure, Virgil orders the beast to be careful and "consider the new weight it carries", referring to the fact that, unlike the shadows that reside in Hell, Dante is alive and has physical mass (Inf 17.98-99). Although this quality adds another physical layer of separation between him and those around him, it metaphorically highlights Dante's ability, under Virgil's guidance, to move and shape the environment around him, thereby shaping the path that leads to salvation. Before landing safely, Dante depicts his fear using two allusions to Phaethon and Icarus. “I believe there was no greater fear when Phaethon gave up the reins, so that the sky was burned, as still appears, nor when the wretched Icarus felt his loins feathered by the heated wax , as his father shouted to him: “You are on the wrong path! » » (Durling Inf. 17.106-111). The theme of surpassing is found in these two allusions. In the first, Phaethon solicits his father, Helios, to allow him to steer the chariot of the sun “as proof of his divine origin” (Martinez and Durling 273). Consequently, Phaethon loses the reins after the horses are frightened by the constellation Scorpio, similar in nature to the beast Geryon on which Dante rides, and which crisscrosses the fiery sky. In this last allusion, Icarus flies too close to the sun, melting the wax that binds his wings, thus falling to his death. Both stories feature men who believed their abilities were greater than their skills could support. Unlike the miserable individuals in these allusions, Dante knows that his limits are bound by God's will and that he will thus complete his journey successfully. Looking at another translation of this passage by the poet Ciardi shows that there are slight nuances in the choice of words translated. who direct the passage. “I think there was no greater fear the day Phaethon let go of the reins and burned the sky along the great scar of the Milky Way, nor when Icarus, too close to the sun's trail, felt the wax melted, spreading his loins, and he heard his father cry: “Go back! Go back!' » (Ciardi, Inf. 17.106-111). Durling's translation uses the word "believes" compared to the Ciardi translation which uses "think". The act of believing involves a more spiritual understanding rather than just thinking that can be interpreted in a secular way. Dante's belief that "there is no greater fear" is linked to his belief that God will see him through. Likewise, Durling's use of the term "abandoned" creates the image of Phaethon actively leaving his position because he lacked the will and ability to overcome fear. Dante, for his part, has the mindset and the resources, even if he is afraid, to accomplish the divine task entrusted to him. Ciardi's use of "loose" is more passive and not as strongly critical of Phaethon's loss of control. Another word choice of note is Ciardi's use of "the great scar of the Milky Way" compared to Durling's use of "the sky was burned." . The first illustrates the immensity of the consequences that the second fails to address., 2017.