However, when observing the scene in Canto 8, we come to realize that the pilgrim’s condemnation of Filippo Argenti represents not a reasonable response, but an emotional outburst. In his article, Scott states that in order for anger to be righteous, it must “necessarily be controlled by reason” (Scott). By analyzing canto 8, we will begin to see that contrary to Scott’s opinion, the Pilgrim’s wrath is in fact sinful because it is motivated by personal vices, thus showing that Dante’s protagonist is not merely a superficial, allegorical representation of goodness, but a complex character with human faults. If we want to determine successfully whether Dante the poet intended the Pilgrim as a mere symbolic figure, or a more complex and realistic human being, it is crucial for us to understand the nature of the latter’s wrath. Scott states in his book, Understanding Dante, that this wrath is a righteous one, or bona ira, as it coincides with the wrath of God, who condemned Filippo to an eternity in hell. Whereas Christopher Kleinhenz argues that by becoming angry, the pilgrim himself becomes guilty of the sin of wrath, John A. Dante becomes furious with him, and wants to see him suffer. Here, in the fifth circle of hell, which is inhabited by those guilty of sinful wrath, the Pilgrim loses his temper when he encounters Filippo Argenti, a man known for avarice and arrogance during his lifetime (Scott). How much opinions on this matter diverge, becomes evident through the different perceptions of the Pilgrim’s wrath in Canto 8. There is an ongoing debate between scholars on whether this interpretation is justified. After all, is not hell the ultimate congregation of all evil? In contrast to this negativity it is only too tempting to think of our protagonist as good through and through. The setting of this poem in particular provokes us to think in simplistic terms of good and bad. The poem describes the treacherous journey of the pilgrim Dante, who attempts to master the circles of hell through which he is led by the wise poet Virgil. Most readers fall into the same habit of categorization in their approach to Dante Alighlieri’s Inferno. Rarely do we take the time to search for anything in between these two extremes. The most obvious example of this generalization is religion: For instance, while Jesus represents pure goodness, the devil stands for evil.

In order to facilitate the process of telling right from wrong, and good from bad, we subconsciously rely on symbolic figures, which often lack the flaws inherent in human nature. At an early age, for example, we learn that it is bad to kill, and that loving our neighbor is considered a positive trait. Most of us are raised with a clear perception of what is good and what is evil.

The Pilgrim’s Wrath: When the Hero Goes Bad

Final draft group divine