While Dante is supported, both physically and mentally, by his guide Virgil throughout Canto 17, he demonstrates his growing independence and understanding through his analysis of the events he faces. Dante is required to call upon the spiritual and mental understanding he gains in this canto to overcome the challenges that hinder him in subsequent cantos. Indeed, even translations of the Inferno that differ significantly agree on these aspects of Dante's evolution as a protagonist. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay In preparation for the journey to the eighth circle, Dante and his reliable guide, Virgil, examine “the beast with the sharp tail, which passes through the mountains and pierces walls and armor” that will take them to the underworld of Hell (Inf. 17,1-2). Dante stops 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 that his name is Geryon. Before Virgil orders the beast to act as their intermediary, he orders Dante to "take away all the experiences of this subcircle" by seeing the last of the sinners in the seventh circle (Inf. 17,37-38). The shadows to whom Virgil refers are moneylenders condemned to stare at the "purse of a special color, with a special emblem" that hangs around their necks. After speaking briefly with them, Dante returns to Virgil and together they mount Geryon starting their descent into the eighth circle. During the descent Dante observes «the great evils approaching from all sides» (Inf. 17,125-126). Once off the horse, Geryon quickly disappears. Although Dante's interactions with Geryon are not independent of Virgil, his analysis therefore shows his progression towards independent thought. Dante uses Geryon to personify the traits of fraud as “fraud renders all physical barriers and defenses (mountains, walls, and armor) useless” (Martinez and Durling 268). He takes note of the physical appearance that contributes to Geryon's "dirty image of fraud" by comparing the beast to German boats "positioned for war" and in further detail by describing its tail as a "poisoned fork that armed its tip like that of a scorpion" (Inf. 17,7, 20-22, 26-27). Both of these similes highlight the juxtaposition between Dante's use of the term “gentile” to describe Geryon's upper half and the brutality of what follows beneath the rest of the “evil beast's” torso (Inf. 17.23). From this interaction, Dante strengthens his ability to discern inner deception from the superficial exterior that often glosses over fraudulent acts and sinners. Subsequently, Dante relies on his ability to see beyond the façade of fraud as he exposes Ulysses in Canto 26. When Dante approaches the loan sharks, he walks “all alone” (Inf. 17.44). Virgil encourages Dante's exploration through self-learning which illustrates Dante's acquired autonomy. Although Dante's time with sinners is concise, his descriptions are not. As he describes, moneylenders continue to hope in vain that their money and family stature will grant them immortality through the inheritance they have left on Earth (Inf. 17, 55-56). However, as Dante's analysis suggests, ignorance besieges these shadows because true immortality is granted through divine power and not through the power of one's wallet. Although his independence is growing, Dante still depends on Virgil in daunting situations. Turning again to his guide, Dante is told to “be strong and bold” as they descendin the eighth circle (Inf. 17,80-81). Dante later adapts this phrase. Battling the exhaustion he faces in Canto 24, Dante states, “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 unexpressed emotions and "clasps and supports [Dante] with his arms" (Inf. 17.95-96). While departing, Virgil orders the beast to be cautious and to "consider the new burden 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). While this quality adds another physical level of separation between him and those around him, it metaphorically highlights Dante's ability, with Virgil's guidance, to move and shape the environment around him shaping the path that leads to salvation. Before landing safely, Dante depicts his fear by using two allusions to Phaeton and Icarus. «I believe that there was no greater fear when Phaeton abandoned the reins, so that the sky was burned, as it still appears, nor when the miserable Icarus felt his sides weakened by the red-hot wax, as his father shouted to him: 'You are in bad luck road!'” (Durling Inf. 17,106-111). In both of these allusions the theme of overcoming is found. In the first, Phaethon urges his father, Helios, to allow him to drive the chariot of the sun “as proof of his divine origin” (Martinez and Durling 273). As a result, Phaethon loses his reins after the horses are frightened by the constellation Scorpius, similar in nature to the beast Geryon on which Dante rides, and streaks the sky with fire. In this last allusion, Icarus flies too close to the sun, melting the wax holding his wings together, falling to his death. Both of these stories portray men who thought their abilities were greater than their abilities could support. Unlike the miserable individuals mentioned in these allusions, Dante knows that his limits are bound by the will of God, and therefore he will complete his journey successfully. Looking at another translation of this passage by the poet Ciardi we see that there are slight nuances in the choice of translated words. who lead the passage. «I believe that there was no greater fear the day when Phaeton released the reins and burned the sky along the great scar of the Milky Way, nor when Icarus, too close to the trace of the sun felt the wax melting, unsheathing his loin feathers , and heard his father shout, "Come back!" Come back!'” (Ciardi, Inf. 17.106-111). The Durling translation uses the word “believes” compared to the Ciardi translation which uses “thinks”. The act of believing involves a more spiritual understanding rather than a simple thought that can be interpreted in a secular way. Dante's belief that "there was no greater fear" ties into his belief that God will carry him through. Similarly, Durling's use of the term "abandoned" creates the image of Phaeton actively leaving his position because he lacked the willpower and ability to overcome fear. Dante, on the other hand, has the mentality and resources, even if he is afraid, to complete the divine task entrusted to him. Ciardi's use of "loose" is more passive and does not criticize Phaeton's loss of control as strongly. Another word choice to note is Ciardi's use of "the great scar of the Milky Way" versus Durling's use of "the sky was burned." . The former illustrates the breadth of consequences that the latter does not achieve. The result of Phaeton's errors extends deep, wounding the cosmos; however, the journey of, 2017.