Canto 16

The three man wheel in this canto consists of Guido Guerra, Tegghiaio Aldobrandi, and Jacopo Rusticucci. All of which were Florentine citizens. Guido was a political figure, Tegghiaio was wealthy and known, and Jacopo was a well mannered knight of the court. Dante does not like the people from Florence hence why they are in hell. Also they men are accused to violence against god. This suggests that Dante also has a problem with them because they are of higher status which can mean that he is not. The wheel they create together could be compared to the wheel of life. The image of the wheel of life looks as if some sort of beast is hanging on to it and controlling it. This relates to how the men must keep moving and stay in a wheel to survive hell which is controlled by the devil.

Canto 13, 14, 15

[Canto 13]

• "No fruit but poisoned thorns" This can be compared to as the garden of Eden. In the garden the fruit that Adam and Eve partook of was poisoned and then turned the way they looked at life and the garden. The poisoned thorns can represent how they saw the fruit tree after they ate the apple.

[Canto 14]

• The rain of fire relates to the destruction of Sodom. God destroyed it with brimstone and fire. The name Sodom is related by some as sin. The idea of falling fire and coming all of the sudden and brought down by God is connected to the rain of fire in hell.

[Canto 15]

• Dante wants Beatrice to explain Brunetto Latinie's prophecy. He claims she is a women of good wit and knowledge. He probably wants her to tell him because he is claimed to be a man that had a lot of intercourse and maybe he assumed that she would know of him. She is also a Florentine women who Dante is very fond of.
  

Dante's Inferno cantos 3-12

[Canto 3]

• "the souls unsure" these are the souls that believed in God but did not fully follow him and were eventually sent to hell.
• "You will be brought to shore another way" this is setting Dante apart from the others and saying that he will get through it. He also thinks that he is one of the good souls that were brought to hell.

[Canto 4]

• "A heavy clap of thunder startled me up as by force" This can be symbolized as the presence of some great figure. For example to show the presence of God there was typically a great sound of thunder
• "The poet began dead pale now" This just reinforces the idea of how terrible and uncomfortable of a place it is. The idea of children, women, and men shows that even innocent people are there.

[Canto 5]

• In this canto they are where the people with lust are sent to. He lists off many names of people that died due to their love. This can signify how it proves the point why it was wrong for those certain people to die because they ended up in hell.
• "With raised wings steady against the current, glide guided by will to the sweetness of their nest." The idea of wings and flying could represent how the lovers are also like angels stuck in the wind of hell and can't get out. Through out there are many who are trying to escape hell and dont really belong there.

[Canto 6]

• "Threw goblets of earth down each voracious throat" It says how they struggled to devour it and ate it like they were gnawing meat. Virgil knew how to get past the beast and this shows how the people in hell pretty much make up all of the land and they live off of it.
• "When you return to earth's sweet light" This should be giving Dante confidence that he is going to make it out of hell because it doesn't say if or maybe it says when you return to earth. He is going to make it through all stages and hell and return back to earth.

[Canto 7]

• "Here I saw more souls than elsewhere spreading far to the left and right" This level of hell was for those who loved and depended on materialistic things. This can connect so much to the time that we live in and how wealth and everybody outdoing eachother is all that matters in people's lifes.
• Through out many this canto he refers to Virgil as his master. God is usually the master of people but in this division of hell they worship and think of materialistic things as there leader and master. Dante could specifically be calling Virgil master in this canto to prove that he does not belong in this division of hell.

[Canto 8]

• "who are you to come before your time" It is obvisous for the dead souls to recognize that Dante is there before he is dead. Not only does he have a body with weight unlike the others he probably shows a great deal of fear because he does not know what is to come.
• " It is fire blazing eternally inside of them that makes them appear within this inner hell." The idea that hell has caused them to turn red shows how hell changes a person from the inside out and they are not who they are not totally who they were before they got there.

[Canto 9]

• The three hellish Furies bring wrath and tourment. These can be compared to the description of Virgil, Statius, and Ovid is probably because in real life that is how Dante saw them.
• The erinyes are dresses and bright green hydras but are blood stained. These two contrasting ideas show how they seem to be sweet and try to hide who they really are like the tower in the begining.

[Canto 10]

• "dear guide believe me, I do not hide my heart from you" He is starting to feel a sense of abandonedment and does not want to be left alone in such a place. He is also putting his life in the hands of his guide.
• Farianta the leader of Florence gives Dante a scorful look as if it came straight out of hell. He died before Dante was even born so this shows how Dante probably didn't think very well of him when he didn't really meet him.

Literary Terms

Paradox: A statement that contradicts itself.
"A dog growls when it's angry, and wags its tale when it's pleased. Now I growl when I'm pleased and wag my tale when I'm angry."

"Some day you will be old enough to start reading fairy tales again."

"War is peace."
"Freedom is slavery."
"Ignorance is strength."

Periodic: A long and frequently involved sentence, marked by suspended sytax, in which the sense is not completed until the final word--usually with an emphatic climax. Contrast with loose sentence.

"Years and years ago, when I was a boy, when there were wolves in Wales, and birds the color of red-flannel petticoats whisked past the harp-shaped hills, when we sang and wallowed all night and day in caves that smelt like Sunday afternoons in damp front farmhouse parlors, and we chased, with the jawbones of deacons, the English and the bears, before the motor car, before the wheel, before the duchess-faced horse, when we rode the daft and happy hills bareback, it snowed and it snowed."

Confessionalism Poetry

Characteristics:

• emerged in 1950s and 1960s
• the poets use personal history for inspiration
• they choose to use their own lives for subject matter, often using personal trauma as fuel for literary or dramatic effect
• the theme of madness is used by many of the poets
• emphazises the intimate information about the poet's life
• explores personal details about the authors' life without meekness, modesty, or discretion
• poems about illness, sexuality, and despondence

Poets:

• John Berryman
• Allen Ginsberg
• Robert Lowell
• Sylvia Plath
• Theodore Roethke
• Anne Sexton
• William De Witt Snodgrass

"The Ball Poem" by John Berryman

What is the boy now, who has lost his ball,

What, what is he to do? I saw it go

Merrily bouncing, down the street, and then

Merrily over—there it is in the water!

No use to say 'O there are other balls':

An ultimate shaking grief fixes the boy

As he stands rigid, trembling, staring down

All his young days into the harbour where

His ball went. I would not intrude on him,

A dime, another ball, is worthless. Now

He senses first responsibility

In a world of possessions. People will take balls,

Balls will be lost always, little boy,

And no one buys a ball back. Money is external.

He is learning, well behind his desperate eyes,

The epistemology of loss, how to stand up

Knowing what every man must one day know

And most know many days, how to stand up

And gradually light returns to the street

A whistle blows, the ball is out of sight,

Soon part of me will explore the deep and dark

Floor of the harbour . . .I am everywhere,

I suffer and move, my mind and my heart move

With all that move me, under the water

Or whistling, I am not a little boy.

Modernist Movement Poetry

Modernist poetry puts emphasis on traditional formalism and diction. Most early modern poetry takes the form of short compact lyrics. It has two main features the first one being technical innovation through the extensive use of free verse and the second a move away from the romantic idea of an unproblematic poetic "self" directly addressing an equally unproblematic ideal reader or audience. The questioning of the self and the exploration of technical innovations in modernist poetry are intimately interconnected. Collage, found poetry, and visual poetry are used so the reader's mind can open up to questions regaurding the nature of the poetic experience and not be influenced by the author. Another important feature of much modernist poetry in English is a clear focus on the surface of the poem. Much of this focuses on the literal meaning of the words on the page rather than any metaphorical or symbolic meanings that might be imputed to them.

Authors:
Ezra Pound
T.S. Eliot
William Carlos Williams
Walt Whitman
Oscar Wilde
Robert Browning
Emily Dickinson
Gerald Manley Hopkins
A.E. Housman
E.E. Cummings
Robert Frost
Sylvia Plath

"Funeral Blues" or "Stop All the Clocks" by W.H. Auden