Author Archives: Christopher Erazo

Finding the Sublime and Beautiful in Inferno Paintings

Edmund Burke suggested that the unpleasant experiences evoked from art can affect an individual in a positive meaningful way. These experiences, although are not what individuals normally want to feel, are necessary to bring about clarity and goodwill. And I believe that this is true and can be explained in relation to Gustave Doré’s paintings Charon, Ferryman of the Dead and Satan for these painting illustrate the means to bring the individual enlightenment. Using Burke’s formulation I can better explain how these two painting’s effects bring about positive change.

To better understand Burke’s idea of the sublime and beautiful, and how these effects bring about positive change. He introduces his concept of the “Curiosity” as a means to have the mind enter a state of interest in relation to art, “the simplest emotion which we discover in the human mind, is Curiosity, I mean whatever desire we have for, or whatever pleasure we take in novelty” (Burke 454).  He explains this state or mode is an integral part of being attracted to the object, for its new, original, or unusual. He contemplates how children go about their world in search of what interest their tastes. There is eagerness to their pursuit of knowledge, and every new detail engages their attention. This is possible because at this stage of life everything is new to them. There is a sense of novelty in which children see the world around them (Burke 454). This “Curiosity” is often accompanied by emotions that cause disorder in the mind, and to an extent, the ability to view the object in ever –changing ways:

But as those things which engage us merely by their novelty, cannot attach us for any                   length of time, curiosity is the most superficial of all the affections; it changes its objects               perpetually; it has appetite which is very sharp, but very easily satisfied; and it has always            an appearance of giddiness, restlessness and anxiety. (Burke 454).

This state of childlike curiosity is fleeting and momentarily, but has powers and passions that has a place in the stepping stones to achieve the kind of experiences that enlighten the soul, “Some degree of novelty must be one of the materials in every instrument which works upon the mind; and curiosity blends itself more or less will all our passions” (Burke 454).

Burke has an interesting notion about pain and pleasure, and it’s inner workings to how individuals perceive about the meaning pleasure and pain, and the difference between them, “For my part I am rather inclined to imagine, that pain and pleasure in their most simple and naturally manner of affecting, are each of a positive nature, and by no means necessarily dependent on each other for their existence” (Burke 454). He rebukes the notion of what others might be considered to be “pain” and “pleasure”, which is the absence of pain and lessening discomfort or agony. According to Burke, pain and pleasure have their own simple definitions of their own and are not dependent on each other. Thus he introduces a concept of a clean mental slate, neither pain nor pleasure: “state of indifference”. These feelings are innate and are evoked by certain actions. Burke claims that when a person is introduced pleasure it is easier to be aware of the things that enabled said pleasure. By succumbing to this state your senses are dialed to ten and you’re able to fully notice the object as a whole. Furthermore, Burke continues to reiterate that pain and pleasure have their own meaning and either of those states will subside and come back to the state of indifference:

Pleasure, when it has run its career, sets us down very nearly where it found us. Pleasure of         every kind quickly satisfies; and when it is over, we relapse into indifference, or rather we fall       into a soft tranquility, which is tinged with the agreeable colour of the former sensation.               (Burke 456)

It’s essential to understand that art has the potential to change a person perception by means of constant recurring state of indifference. With every new object, individuals have the opportunity to experience newer concepts of their reality.

It’s important to note that Burke recognizes that the removal of pain has its own right in terms of sensation, “express the sensation which accompanies the removal of pain or danger”(Burke 457).  Having labeled this, seeks to differentiate and end the characterization of pleasure. Burke continues to introduce his idea of “grief”, which is the state when the effects of pleasure from the object is forever lost and “disappointment”, which occurs when the pleasure abruptly ends without any warning (Burke 457).

With that being said and explained, Burke puts emphasis on terror. He suggests that objects can intense emotions that is in relation to terror is the origin of sublime, “in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling (Burke 459). Now, how do all concepts and terms fit into Gustave Doré’s paintings. I shall explain with Charon, Ferryman of the Dead:

Doré, Gustave. Charon, ferryman of the dead. 1890, Acheronte

here you see a man, Charon. He is fulfilling his duties in transporting souls to Hell. But, there are so many details that are so complex and integral to experience the sublime from this. Initially, the viewer will be in a state of indifference. Then upon looking at this painting there is curiousness behind Charon and his actions in a troubling setting. In this case, the viewer is now eager to look closely into painting. The painting illustrates about how powerful nature is:  the darkness in the skies, the distinct winds and fogs surrounding Charon, and the intense ferocious waves. To which, all of this brings about a level of terror from the viewer. This chaos can be interpreted as being nothing or insignificant in the face of violence in nature. Now with these feelings of dread inflicting upon the viewer how can this be in relation to pleasure. Well Burke would argue that the experiences from these paintings can bring up a positive change in their mind. This notion of being inadequate and loss of control gives the viewer an opportunity to see their circumstances in new light. Debra Hickenlooper Sowell describes the sublime as “objects or scenes inspired astonishment, horror, and pain, but examined from a distance the produced awe and a sense of pleasurable fear before Nature’s grandeur” (Sowell 86). As we examined our horror at a distance we are content in finding art that manages to question our reality and contemplate about their influence in our perception in our reality.

To better understand Burke’s perspective about the Sublime and the Beautiful. I bring up Sir Philip Sidney who gives an interesting piece in his work An Apology for Poetry about the beneficial effects when one is exposed to art:

This purifying of wit, this enriching of memory, enabling of judgement, and enlarging of                conceit, which commonly we call learning ,under what name soever it come forth , or to                what immediate end soever it be directed, the final end is to lead and draw us to as high a          perfection as our degenerate souls , made worse by their clayey lodgings , can be capable            of(Sidney 260)

What a better way to explain this phenomenon by which the viewer is shown devastation, to which is so vivid that it burrows into our memories. This powerful image takes a hold of your judgment, and somehow calms you and gives you a sense of security and solace in the grand scheme of things.

Doré, Gustave. Satan. 1890

Now I will examine the second painting from Gustave Doré entitled Satan. Immediately the viewer is exposed to the vastness on this landscape, the terror and danger emanating from Satan, and desolation in which these sinners reside. Burke would suggest that the viewer would go in and out of the state of indifference, for their curiosity would follow the vast amount of information from this painting and satisfaction from taking all these information. These indicators of pleasure encourage the viewer in a way that contemplates the hellish way that these sinners are punished. Or to feel fear in reference to Satan and his mountain-like stance. Burke saw terror and fear as a necessary component to gain wisdom. This new found knowledge is only achieved by strong negative emotion manifesting to the sublime (Hur, Y.-J. et al.).

I decided to elaborate on Burke’s concept of the “beautiful” towards the end of my analysis, for unlike the “sublime” it is easier to understand and applied to my examples Burke claims that the beauty inspires the individual to feel affection towards that which is perceived as beautiful. Beauty has a positive social quality that inspires love or affection toward whomever is perceived as beautiful.  Let us look back at those two paintings. The painting Charon, ferryman of the dead brings the viewer love for the passion behind the details and intricate horror behind the Acheron River in contrasts to the large walls between Charon. As for the painting Satan, Burke would argue that the viewer will find beauty in seeing Virgil and Dante in contrast to Satan’s statue. There is a sense of concern for the well-being for these fictitious characters and the vastness in which this circle inhabits.

Thus Burke saw this phenomenon as a useful corrective. It restores perspective and re-evaluates our own egotism and morals. Burke suggests that there is the need of the Sublime and Beautiful as a utility to feel in place in our domestic lives:

beauty should shun the right line, and when it deviates, it often makes a strong deviation;            beauty should not be obscure; the great ought to be dark and gloomy; beauty should be              light and delicate; the great ought to be solid and massive (Burke 460)

Again, with the examples I’ve shown, one is forced to contemplate at a distance the horrors they witnessed and think about better ways to go about their lives. In relishing these moments evoked from these painting we are enabling ourselves to sense that our stressful lives are minor compared the experiences of the painting. It is a pleasant way to find solace in the face of adversity.

Bibliography

Cain, William, et la. The Norton Anthology of Theory and Criticism. Edited by Vincent B. Leitch, 2nd ed, 2010, 2001

Hantke, Steffen. “The Function of the Sublime in Contemporary Horror: From Edmund Burke to Michael Blumlein.” Foundation 0 (1997): 45. Web.

Sowell, D.H., 2011. Romantic Landscapes for Dance: Ballet Narratives and Edmund Burke’s Theory of the Sublime. Dance Chronicle, 34(2), pp.183–216.

Hur, Y.-J. et al., 2018. Facing the Sublime: Physiological Correlates of the Relationship Between Fear and the Sublime. Psychology of Aesthetics, Creativity, and the Arts, pp.Psychology of Aesthetics, Creativity, and the Arts, 2018.

Doré, Gustave. Charon, ferryman of the dead. 1890, Acheronte

Doré, Gustave. Satan. 1890

Reflection Post-2

Truthfully, these past few weeks has been informative. With the knowledge that I’ve learned, I feel as though my mind is ready to tackle these texts. There is so much to learn from the Divine Comedy. Sadly, the few weeks of classes were not enough to fully experience the whole journey with Dante. Now my time and energy is on focusing my final paper. I feel confident in translating my ideas and thoughts about the text into paper.

I’ve remembered all those past posts and those nights where I had no idea how to interpret or even understand the reading. Yet somehow, I managed. All these observations and theories from our class discussion has help me better understand Dante’s intention. My most memorable post was when we were assigned to analyze paintings and statues in the MET. What was most striking for me was the statue Ugolino and his sons. I know the symbolic meaning behind his sons grabbing his legs in concern for his well being, but Ugolino’s face is menacing and haunting. It feels like it is looming over you, judging you for actions you aren’t aware of. Anyways, I was spellbound by his enraged face. I look forward to find more art that incorporates fear and rage. Which is great, for this is the kind of theme i’m working on for my final paper.

Final Piece for True Paradise

The final piece for Dante’s salvation is Beatrice. In canto 30 Dante is awestruck at finally seeing Beatrice after all those years “I saw the lady who had first appeared/ to me beneath the veils of the angelic/ flowers look at me across the stream” (Alighieri 64-66). But, this does not mean that Dante is going to Paradise. Here, Beatrice is depicted with a stern and harsh stance towards Dante, “just as a mother seems / harsh to her child, so did she seem to me/ how bitter is the savor of stern pity!”(Alighieri 79-81). Dante is to undergo one last trial or reflection in order to ascend. It makes you wonder if the journey through Hell and Purgatory was enough to grant entry to Paradise, but it is not that simple; Dante passed and spectated throughout his journey, not participating. Dante merely took lessons from cautionary stories. In order to truly grant access to Paradise he must look into himself, and renounce all his sins by feeling anguish and sorrow: “my reply/ be understood by him who weeps beyond,/ so that his sorrow’s measure match his sins”(Alighieri 106-108). We have come to know since the beginning of Inferno that Dante has overwhelming love for Beatrice. With that in mind, there is no room for self deception for Dante. He cannot hide or lie about his sins to himself or even his love. Thus, he finally rids himself of sin by acknowledging them and feeling remorseful.

Justified Punishment

Dante at this point, now fully understands why these sins are punished and how essential it is for the punishment to match the severity of their sins. What I want to find out is why is Lucifer isn’t active throughout Inferno? It would make sense for the king of Hell to apply his might against the dammed throughout Dante and Virgil’s pilgrimage. To help us understand the very nature around Hell and Lucifer let us examine Canto 33 . Here in this Canto, Dante and Virgil are in the ninth circle and they come across a sinner named Count Ugonilo who chews the neck of his killer and betrayer, Archbishop Ruggieri. Both of these men are betrayers, but what’s important to note is how Ugonilo acts for his sins: “That sinner raised his mouth from his fierce meal, / then used the head that he had ripped apart / in back; he wiped his lips upon it’s hair.” (Alighieri 1-3).  Ugonilo attacks the man who betrayed with anger and disgust. There is hate in those bites. It’s evident here that wrath has made Ugonilo go insane with rage.

Examining Canto 34, Virgil and Dante are in the City of Dis. They meet the king of Hell who stands in the middle showing no emotions(I will discuss about Lucifer nature later). Lucifer has three heads to which each mouth contains a sinner: Judas, who betrayed Jesus Christ, Brutus and Cassius both of whom betrayed Julius Caesar.  All three men are chewed and shredded, never dying: “Within each mouth he used it like a grinder/ with gnashing teeth he tore to bits a sinner, / so that he bought much pain to three at once.(Alighieri 55-57).  According to this, these sinners are forever in a state of perpetual agony. Notice that these sinners are expressing emotion unlike Lucifer himself. With these examples in mind, I believe Dante meant to show the readers that although the sinners are touched by evil. They still remain human. Pure evil has no traces of humanity, which would make sense since Lucifer is evil incarnate.

There is an interesting note about Purgatory that further explains the presence of sins around humans and perhaps Dante’s intentions about the sinner’s circumstances. In Canto 1 of Purgatory, Dante and Virgil meet Cato, a Roman Politician who is famous for his defiance of Julius Caesar.  What fascinating about this sinner Cato is the fact he killed himself as a form of freedom from Julius Caesar as explain by Virgil, “You know it who, in Utica, found death/ for freedom was not bitter, when you left/ the garb that will be bright on the great day.”(Alighieri 73-75). Since we’ve come to know that suicide is a crime against God, it’s problematic to see Cato’s role in this realm. To understand why Cato is in Purgatory instead of Hell we must remember that Dante based his morality on Aristotle’s schema. According to Aristotle, death by suicide is a crime against one’s society, but in Cato’s case his society was conquer by Julius Caesar. Rather than being in part of the new society by the conqueror, he decided to free himself by suicide. This is why there is a special case for Cato Presence, for his actions is proof his incorruptible nature.

 

Reflective Post

As I revisited my previous posts, I’ve noticed that my analysis requires more content than quality. To my knowledge, I don’t see a real concrete thought process when dealing with these assignments. I deal with this posts without any cognitive process, and if I apply more planning into writing my analysis about these cantos then I can further enlighten myself and the audience. Honestly, on my first post it was difficult for me write about the image to the referred canto. It’s been a long time since I’ve had to write about an artist’s piece, so I don’t know how to go about contemplating on what the piece represents.  This is why i tend to stick with just textual analysis. In my opinion, It is easier to come up with a strategy to translate my ideas into writing.

As I continue on this course, I hoped to utilize many literary theories to help me make sense of Dante’s text. Before, at the start of this course I’ve stated about my fascination on the damned in Dante’s Inferno to which drove me to enroll this class. Now I’ve realized that Dante’s Inferno has more to offer than what I initially thought.  Some of what Dante’s talks about with the damned sometimes reflects what’s going on in today’s world in terms of corruption and morality themes.

Eternal Recurrence and Serpents

After reading Canto 24, I’ve wondered about the theory of Eternal Recurrence and the nature of the seven pouch. For those who are unfamiliar with this theory, it’s a thought experiment about whether every detail life is meant to endlessly repeat itself; a loop. Famously, there is a symbol that goes hand in hand with this theory, Ouroboros; a snake eating itself.  Friedrich Nietzsche used this as a formula for human greatness. With that in mind, the Sinners are punished by giant serpents binding them. So, we can associate these serpents with the symbol Ouroboros. As these serpents bind sinners, they are caught on fire and turned into ashes. Then these ashes are reborn into human form again. The punishment repeats itself.  Just like the theory of eternal recurrence stated, these sinners are dealing with the same pain over and over again. According to Friedrich Nietzsche, how can these sinners achieve human greatness. In Canto 24, Virgil states that a person has control of their thoughts and impulses, “raise thee up, o’ercome the anguish/ With spirit that o’ercometh every battle,/ If with its heavy body it sink not”(Alighieri 52-54). Perhaps to reach enlightenment, Sinners must be aware of the temptations to which they are always recurring and present, and learn to control these impulses. Although, now that I contemplate about the sinner’s circumstance, they are in hell; therefore they must forever feel torment. At least in this case, the looping element from the Eternal Recurrence would apply here.

Dante Addresses to the Audience About Simonists

I have noticed that on Canto 19 Dante addresses towards the audience about how heinous it is to offer God’s grace for money.  At the start of this Canto Dante states, “O SIMON MAGUS, O forlorn disciples,/ Ye who the things of God, which ought to be/ The brides of holiness, rapaciously(Alighieri 1-3) I believe the author Dante Alighieri is conveying the gravity of lying to those who believe that they can buy God’s grace. The following stanza Dante offers a premonition to the audience about the severity of Simony: “For silver and for gold do prostitute, / Now it behoves for you the trumpet sound, /Because in this third Bolgia ye abide (Alighieri 4-6). Here the reader can anticipate that the sinner’s punishment is approaching “behoves for you the trumpet sound”. It is evident that the author Dante Alighieri has no remorse or pity for these sinners. Dante clearly sees these fools are guilty of fraud, for they are simply taking advantage of people by offering promises of divinity in exchange of money. To Dante, this is a form of fraud, and the way the punishment is painfully depicted: “The feet of a transgressor, and the legs/ Up to the calf, the rest within remained. / In all of them the soles were both on fire;/ Wherefore the joints so violently quivered(Alighieri 22-26); Dante feels that their punishment is justified.

The Damned Are Not Simply Evil

In Canto 15, Dante and Virgil are still in the seventh circle of Hell, to which are inhabited by sinners who have committed violence against God. What I want to focus on here is the complexity of one sinner, Brunetto Latini. The nature around this individual begs to question that although these souls had committed sins, the nature of sins should not be easily dismissed. We, the reader, must understand that the during Dante Alighieri’s time the church condemned homosexuals acts, for it upset the natural order of things; the church viewed sexual acts as a way to procreate only. Dante shows great admiration towards his former mentor Brunetto Latini, “For in my mind is fixed, and touches now/ My heart the dear and good paternal image/ Of you, when in the world from hour to hour”(Alighieri 82-84). Furthermore, Dante with high regard tells Brunetto about how grateful he is to have him as an mentor, “You taught me how a man becomes eternal; / And how much I am grateful, while I live/ Behoves that in my language be discerned. (Alighieri 85-87). Now, can we the readers question about the author’s(Dante Alighieri) intentions with this character(Brunetto Latini)? It is evident that Brunetto is a complex and sympathetic character. Maybe Dante wanted his readers to contemplate about human nature and to be remorseful towards people who were confronting their sins.

Virgil Got His Confidence Back- Canto 12

I’ve come to realize that Virgil is regaining his confidence in Canto 12. For example, at the start of the Canto, both Virgil and Dante meets the Minotaur, Crete: Virgil, with annoyance shouts at the Cretin to leave or else he faces punishment, ”Get thee gone, beast, for this one cometh not/ Instructed by thy sister, but he comes/ In order to behold your punishments.” (Alighieri 19-21).  Furthermore, When Crete goes insane with rage and charges towards to them, Virgil takes lead and instructs Dante to dodge pass Crete while he is distracted by his wrath,  “Run to the passage;/ While he wroth, ’tis well thou shouldst descend.”(Alighieri 26-27). It is evident that Virgil is no longer that person who faced defeat at the entry of Dis (Canto 8). Virgil goes as far as to boasts upon outsmarting Crete, “Thou art thinking/ Perhaps upon this ruin, which is guarded/ By that brute anger which just now I quenched.” (Alighieri 31-33). Furthermore, as they continue with their journey, Virgil and Dante encounters a group of Centaurs with bows and arrows demanding an explanation about their presence, to which Virgil, again with confidence and bravado states, “Our answer will we make/ To Chiron, near you there; in evil hour,/ That will of thine was evermore so hasty.”  (Alighieri 63-35). Here Virgil takes a stand: he will not budge until he speaks to Chiron. This whole Canto, in my opinion has a hidden theme, which is reclamation. Virgil is now becoming a true leader, a proper guide. Up until now, Virgil had helped Dante through the first five circles of Hell, and that does merit trust, but with this new confident assertive Virgil; Dante feels assured and sheds any doubts that he has accumulated from Virgil’s previous failed actions.

 

Author’s hate for Argenti

“A little after that, I saw such havoc
Made of him by the people of the mire,
That still I praise and thank my God for it.” (Alighieri 58)

I would like to talk about Author’s hatred for Argenti. The quote above is towards Argenti, and it’s evident that Dante (both the author and character) did not think highly of Argenti.  Up until now, Dante expresses nothing but sadness and guilt for these sinners except Argenti. It’s fascinating to see the reason why he is placed in this circle. We know that this circle is exclusively for sinners whom have committed wrath. For those whom are unfamiliar with this circle; these are people whom were consumed with anger in their lives. Now we don’t know in details Argenti’s backstory, or his relation towards the character Dante, but we do know from the text’s footnote(102 pages 63-64) that Boccaccio had mentioned in his Comento that Philippo Argenti is a man of great “pomp and ostentation”. We can suspect that this Argenti is an unpleasant person, and there’s unresolved conflict between the author and Argenti. I would like to know more about their conflict but I digress. What’s important in this post is how funny it was that the author managed to put this character Argenti whom as far as I can tell was no real substance to this sinner in terms of the grand scheme of the author’s intentions. Argenti wronged the author is the most minimal way, and now he is forever cemented in text to be ripped apart by his fellow sinners.