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Movement along with Stasis : The usage of dynamics at the Divine Comedy Movement is a crucial subject of the Divine Comedy. From the outset, we are confronted with all the physicality of this missing Dante, drifting from the perilous dark timber. His movement within the strange place is confounded and faltering; 'Io non so ben ridir com'io v'entrai'. In addition, it's apparent that the bodily distress he is experiencing is the visible manifestation of the mental anguish that the poet is afflicted. The allegory of this image is just one of mid-life crisis, but it is physically represented by the man dropping his way in a dark wood. This kind of observation may seem far too simple and clear to become worthy of remark. However, I would assert that it's from this key example of the deep relationship between the physical and the psychological, that you can begin to categorise and describe the varying types of motion in the work. The first section of the essay will be a close evaluation of several critical minutes of physical action or not having such. The final section is an overview of the whole along with a discussion of the overall arrangement of the Comedy, how movement is governed and the consequences of this. To begin with, it's useful to summarise the various varieties of motion (or really stasis) that is seen in the Comedy. There is a complete range - from the violent movements of this 'bufera infernale' of Canto V, Inferno, through the slow, laboured movements of the proud in Canto X, Purgatory, into the arctic stasis of the offenders in deepest Hell at Canto XXXIII. There is not a simple instant explanation. Speedy movement does not imply a greater sin than the frozen solidity of the gullible nor vice versa. By analysing several key passages out of all t.. .