Product Description
The "Divine Comedy" was entitled by Dante himself merely "Commedia," meaning a poetic composition in a style intermediate between the sustained nobility of tragedy, and the popular tone of elegy. The word had no dramatic implication at that time, though it did involve a happy ending. The poem is the narrative of a journey down through Hell, up the mountain of Purgatory, and through the revolving heavens into the presence of God. In this aspect it belongs to the two familiar medieval literary types of the Journey and the Vision. It is also an allegory, representing under the symbolism of the stages and experiences of the journey, the history of a human soul, painfully struggling from sin through purification to the Beatific Vision. Contained in this volume is the second part of the "Divine Comedy," the "Purgatorio" or "Purgatory," from the translation of Charles Eliot Norton. ... Read more

Customer Reviews (1)

Medieval vision of the afterlife
This was required reading for a graduate course in medieval history.
"The Divine Comedy" describes Dante's journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso), guided first by the Roman epic poet Virgil and then by Beatrice, the subject of his love and another of his works, "La Vita Nuova." While the vision of Hell, the Inferno, is vivid for modern readers, the theological niceties presented in the other books require a certain amount of patience and scholarship to understand.Purgatorio, the most lyrical and human of the three, also has the most poets in it; Paradiso, the most heavily theological, has the most beautiful and ecstatic mystic passages in which Dante tries to describe what he confesses he is unable to convey (e.g., when Dante looks into the face of God: "all'alta fantasia qui mancò possa" - "at this high moment, ability failed my capacity to describe," Paradiso, XXXIII, 142).

Dante wrote the Comedy in his regional dialect.By creating a poem of epic structure and philosophic purpose, he established that the Italian language was suitable for the highest sort of expression, and simultaneously established the Tuscan dialect as the standard for Italian. In French, Italian is nicknamed la langue de Dante.Publishing in the vernacular language marked Dante as one of the first (among others such as Geoffrey Chaucer and Giovanni Boccaccio) to break from standards of publishing in only Latin or Greek (the languages of Church and antiquity).This break allowed more literature to be published for a wider audience - setting the stage for greater levels of literacy in the future.

Readers often cannot understand how such a serious work may be called a "comedy".In Dante's time, all serious scholarly works were written in Latin (a tradition that would persist for several hundred years more, until the waning years of the Enlightenment) and works written in any other language were assumed to be comedic in nature.Furthermore, the word "comedy," in the classical sense, refers to works which reflect belief in an ordered universe, in which events not only tended towards a happy or "amusing" ending, but an ending influenced by a Providential will that orders all things to an ultimate good.By this meaning of the word, the progression of Dante's pilgrim from Hell to Paradise is the paradigmatic expression of comedy, since the work begins with the pilgrim's moral confusion and ends with the vision of God.

The Divine Comedy can be described simply as an allegory: Each canto, and the episodes therein, can contain many alternate meanings.Dante's allegory, however, is more complex, and, in explaining how to read the poem (see the "Letter to Can Grande della Scala"), he outlines other levels of meaning besides the allegory (the historical, the moral, the literal, and the anagogical).The structure of the poem, likewise, is quite complex, with mathematical and numerological patterns arching throughout the work, particularly threes and nines.The poem is often lauded for its particularly human qualities: Dante's skillful delineation of the characters he encounters in Hell, Purgatory, and Paradise; his bitter denunciations of Florentine and Italian politics; and his powerful poetic imagination.Dante's use of real characters, according to Dorothy Sayers in her introduction to her translation of "L'Inferno", allows Dante the freedom of not having to involve the reader in description, and allows him to "[make] room in his poem for the discussion of a great many subjects of the utmost importance, thus widening its range and increasing its variety."

Dante called the poem "Comedy" (the adjective "Divine" added later in the 16th century) because poems in the ancient world were classified as High ("Tragedy") or Low ("Comedy"). Low poems had happy endings and were of everyday or vulgar subjects, while High poems were for more serious matters.Dante was one of the first in the Middle Ages to write of a serious subject, the Redemption of man, in the low and vulgar Italian language and not the Latin language as one might expect for such a serious topic.

Purgatorio
Having survived the depths of Hell, Dante and Virgil ascend out of the undergloom, to the Mountain of Purgatory on the far side of the world (in Dante's time, it was believed that Hell existed underneath Jerusalem).The Mountain is on an island, the only land in the Southern Hemisphere.At the shores of Purgatory, Dante and Virgil are attracted by a musical performance by Casella, but are reprimanded by Cato, a pagan who has been placed by God as the general guardian of the approach to the mountain.The text gives no indication whether or not Cato's soul is destined for heaven: his symbolic significance has been much debated.(Cantos I and II).

Dante starts the ascent on Mount Purgatory.On the lower slopes (designated as "ante-Purgatory" by commentators) Dante meets first a group of excommunicates, detained for a period thirty times as long as their period of contumacy.Ascending higher, he encounters those too lazy to repent until shortly before death, and those who suffered violent deaths (often due to leading extremely sinful lives).These souls will be admitted to Purgatory thanks to their genuine repentance, but must wait outside for an amount of time equal to their lives on earth (Cantos III through VI).Finally, Dante is shown a beautiful valley where he sees the lately-deceased monarchs of the great nations of Europe, and a number of other persons whose devotion to public and private duties hampered their faith (Cantos VII and VIII). From this valley Dante is carried (while asleep) up to the gates of Purgatory proper (Canto IX).

The gate of Purgatory is guarded by an angel who uses the point of his sword to draw the letter "P" (signifying peccatum, sin) seven times on Dante's forehead, abjuring him to "wash you those wounds within".The angel uses two keys, gold and silver, to open the gate and warns Dante not to look back, lest he should find himself outside the gate again, symbolizing Dante having to overcome and rise above the hell that he has just left and thusly leaving his sinning ways behind him.From there, Virgil guides the pilgrim Dante through the seven terraces of Purgatory.These correspond to the seven deadly sins, each terrace purging a particular sin in an appropriate manner.Those in purgatory can leave their circle whenever they like, but essentially there is an honors system where no one leaves until they have corrected the nature within themselves that caused them to commit that sin. Souls can only move upwards and never backwards, since the intent of Purgatory is for souls to ascend towards God in Heaven, and can ascend only during daylight hours, since the light of God is the only true guidance.

Recommended reading for anyone interested in literature and medieval history.
... Read more

Product Description
The most famous of the three canticles that comprise The Divine Comedy, Inferno describes Dante’s descent in Hell midway through his life with Virgil as a guide. As he descends through nine concentric circles of increasingly agonizing torture, Dante encounters doomed souls that include the pagan Aeneas, the liar Odysseus, the suicidal Cleopatra, and his own political enemies, damned for their deceit. Led by leering demons, Dante must ultimately journey with Virgil to the deepest level of all—for it is only by encountering Satan himself, in the heart of Hell, that he can truly understand the tragedy of sin. ... Read more

Customer Reviews (5)

Not what I ordered but good I guess.
I ordered the Penguin Classics Dante's Inferno, however, I received a different translation. This is kind of annoying considering I have the Penguin Classics Purgatory and Paradise but I guess it's still the same book (in a way).

For translation try the Hollanders; for commentary this Oxford Don
for great translation of the Inferno I far prefer the fairly recent The Inferno version done by the husband and wife team of Robert and Jean HOllander, who have now completed all three parts of the Commedia, Purgatorio and Paradiso. They added a better than pedestrian but in fact a very useful commentary to each line, to each canto, plus a great introduction and remarks on the process of translation. I like their faithfulness to the text and to the triplet rhyming as possible while placing it into a living contemporary and comprehensible English which does not in itself need any explanation. For me this is the most faithful and readable version.

Of course the standard version widely used in our schools is the old John Ciardi The Inferno (Signet Classics). If you really require an Oxfordian tone to your translation, then certainly Dorothy L. Sayer's monumental, unmatchable and moving translation of the entire Commedia: The Divine Comedy: Hell (Penguin Classics), The Divine Comedy, Part 2: Purgatory (Penguin Classics), and her posthumous The Divine Comedy Part 3: Paradise (Penguin Classics). I especially appreciate the way she courageously, correctly and brilliantly translates the title of the first section in to good old, clear and monosyllabic anglo-saxon.

For a flavor of a more recent, and male, Oxford Don we have this present new translation by Robin. I find this translation the least felicitous of all, yet the introduction and the commentary highly informative, uesful and not to be missed. In fact the notes and commentary alone, although limited to the world view of a Protestant Oxford Don, are alone worth the price of the book.

Like the Hollander's, this edition is bilingual, placing face to face the currently most authoritative version of Dante's original vernacular, that published in his native Florence in 1994 by the Casa Editrice Le Lettere as Commedia: Secundo l'Antica Vulgata. [edizione nazionale] from Giorgio Petrocchio. For this we are most grateful, and in fact is our sole object in purchasing this edition.

Please note that unlike the indication in another review's title, Robin does not use the most remembered words "Abandon hope" to translate the closing line of the inscription which opens Canto Three: "Lasciate ogni speranza . . ." Rather Robin writes: "Surrender as you enter every hope you have (p. 21)." I would prefer, without thinking too deeply about the matter, something along the lines of "Let go of all hope, you entering (here)."

In a word please think of this then as a brilliant historical, cultural and textual commentary rather than easy reading translation. For instance we read on p. xxiii: "Dante is never more Christian than when he vibrates in horror at the corruption disseminated by the institutional politics of the contemporary Church, the Whore of Babylon ( . . .) impelled in all its decisions by avarice and violence." Or again we may read on pp. xivff: "Dante comes to believe in a providence that creates and sustains human beings in all aspects of their existence. In the end it is charity that underlies Dante's political vision - a love which seeks not to possess (n)or to violate but rather to promote the good of others ( . . .) Despair then is no part of Dante's vision ( . . .) The awful pain of exile informs Dante's representation of Hell, which is a state of absolute alienation form human and divine companionship. But exile in Purgatory is transformed into the condition of pilgrimage, of a quest for distant truth; and in Paradise it finally becomes clear that exile, in spiritual terms, is a metaphor expressing the true nature of charity: 'caritas' demands nothing less than exile; it is that absolute and willing dispossession of self ( . . .)."

This beings therefore to read much like Pope Benedict's First Encyclical, Deus Caritas Est God Is Love: Prepack of 50 or Thomas Merton on peace or something from Dante's own contemporary Saint Francis of Assisi. The commentary by Robin is well worth the price of admission; the translation is like a host's dreary after-dinner reading of his own poetry. For Dante, read the Hollanders, or the original.

Abandon hope

"Midway life's journey I was made aware/that I had strayed into a dark forest..." Those eerie words open the first cantica of Dante Alighieri's "Inferno," the most famous part of the legendary Divina Comedia. But the stuff going on here is anything but divine, as Dante explores the metaphorical and supernatural horrors of the inferno.

The date is Good Friday of the year 1300, and Dante is lost in a creepy dark forest, being assaulted by a trio of beasts who symbolize his own sins. But suddenly he is rescued ("Not man; man I once was") by the legendary poet Virgil, who takes the despondent Dante under his wing -- and down into Hell.

But this isn't a straightforward hell of flames and dancing devils. Instead, it's a multi-tiered carnival of horrors, where different sins are punished with different means. Opportunists are forever stung by insects, the lustful are trapped in a storm, the greedy are forced to battle against each other, and the violent lie in a river of boiling blood, are transformed into thorn bushes, and are trapped on a volcanic desert.

If nothing else makes you feel like being good, then "The Inferno" might change your mind. The author loads up his "Inferno" with every kind of disgusting, grotesque punishment that you can imagine -- and it's all wrapped up in an allegorical journey of humankind's redemption, not to mention dissing the politics of Italy and Florence.

Along with Virgil -- author of the "Aeneid" -- Dante peppered his Inferno with Greek myth and symbolism. Like the Greek underworld, different punishments await different sins; what's more, there are also appearances by harpies, centaurs, Cerberus and the god Pluto. But the sinners are mostly Dante's contemporaries, from corrupt popes to soldiers.

And Dante's skill as a writer can't be denied -- the grotesque punishments are enough to make your skin crawl ("Fixed in the slime, groan they, 'We were sullen and wroth...'"), and the grand finale is Satan himself, with legendary traitors Brutus, Cassius and Judas sitting in his mouths. (Yes, I said MOUTHS, not "mouth")

More impressive still is his ability to weave the poetry out of symbolism and allegory, without it ever seeming preachy or annoying. Even pre-hell, we have a lion, a leopard and a wolf, which symbolize different sins, and a dark forest that indicates suicidal thoughts. And the punishments themselves usually reflect the person's flaws, such as false prophets having their heads twisted around so they can only see what's behind them. Wicked sense of humor.

Dante's vivid writing and wildly imaginative "inferno" makes this the most fascinating, compelling volume of the Divine Comedy. Never fun, but always spellbinding and complicated.

Medieval vision of the afterlife
This was required reading for a graduate course in medieval history.
Dante Alighieri's (1265-1321) "Devine Comedy" weaved together aspects of biblical and classical Greek literary traditions to produce one of the most important works of not only medieval literature, but also one of the great literary works of Western civilization.The full impact of this 14,000-line poem divided into 100 cantos and three books is not just literary.Dante's autobiographical poem Commedia, as he titled it, was his look into the individual psyche and human soul.He explored and reflected on such fundamental questions as political institutions and their problems, the nature of humankind's moral actions, and the possibility of spiritual transformation; these were all fundamental social and cultural concerns for people during the fourteenth-century.Dante wrote the Commedia not in Latin but in the Tuscan dialect of Italian so that it would reach a broader readership.The Commedia was a three-part journey undertaken by the pilgrim Dante to the realms of the Christian afterlife: Hell, (Inferno), Purgatory, (Purgatorio), and Paradise, (Paradisio).

The poem narrated in first person, began with Dante lost midlife.He was 35 years old in the year 1300 and in a dark wood.Being lost in the dark wood was certainly an allegorical device that Dante used to express the condition of his own life at the time he started writing the poem. Dante had been active in Florentine politics and a member of the White Guelph party who opposed the secular rule of Pope Boniface VIII over Florence.In 1302, The Black Guelphs who were allied with the Pope, were militarily victorious in gaining control of the city and Dante found himself an exile from his beloved city for the rest of his life.Thus, Dante started writing the Commedia in 1308 and used it to comment on his own tribulations of life, and to state his views on politics and religion, and heap scorn on his political enemies.

Dante's first leg of his journey out of the dark wood was through the nine concentric circles of Hell (Inferno), escorted by his favorite classical Roman poet Virgil, author of the Aeneid.Dante borrowed heavily from Virgil's Aeneid.Much of Dante's description of hell had similarities to Virgil's description in his sixth book of the Aeneid.Dante's three major divisions of sin in hell where unrepentant sinners dwelled, had their sources in Aristotle and Augustinian philosophy.They were self-indulgence, violence, and fraud.Fraud was considered the worst of moral failures because it undermined family, trust, and religion; in essence, it tore at the moral fabric of civilized society.These divisions were inversions of the classical virtues of moderation, courage, and wisdom.The fourth classical virtue, justice, is what Dante came to believe after his journey through hell that all its inhabitants received for their unrepentant sins.There were nine concentric circles of hell inside the earth; each smaller than the previous one.For Dante the geography of hell was a moral geography as well as a physical one, reflecting the nature of the sin.Canto IV describes the first circle of hell, Limbo, which is where Dante met the shades, as souls where called, of the virtuous un-baptized such as Homer, Ovid, Caesar, Aristotle, and Plato.

In the four circles for the sin of self-indulgence Dante met shades who where lustful, gluttons, hoarders and wrathful.In the second circle of Hell, lustful souls were blown around in a violent storm.In Canto V, one of the great dramatic moments of the poem, Dante had his first lengthy encounter with an unrepentant sinner Francesca da Rimini, who committed adultery with her brother-in-law.Like all the sinners in hell, Francesca laid the blame for her sin elsewhere.She claimed to be seduced into committing adultery after reading the story of Lancelot and Guinevere.At the end of the scene, Dante fainted out of pity for Francesca.

In Canto X, the sixth circle of hell reserved for heretics who are punished by being trapped in flaming tombs, Dante took the opportunity to use the circle to chastise political leaders for participating in political partisanship.A Florentine who was a leader in the rival Ghibbelline political party, Farinata degli Uberti, accosted Dante.Both men aggressively argued with each other, recreating in hell the bitterness of partisan politics in Florence.Farinata predicted Dante's exile.Dante used this Canto to show the dangerous tendencies of petty political partisanship that he harbored.

The seventh circle of hell was subdivided into three areas where sinners were punished for doing violence against themselves, their neighbors, or God.In Canto XIII Dante encountered Pier della Vigne in the wood of the suicides.The shades there were shrubs who had to speak through a broken branch.Pier spoke to Dante about how he had been an important advisor to Emperor Frederick II, and how he blamed his fall, and his suicide, on the envy of other court members.This Canto was especially important because Dante came to grips with his own "future" fall from political power and exile.Pier's behavior served as a strong example to Dante how not to act in exile.Whether he had been tempted to commit suicide is not clear; however, he certainly had been prone to the selfish and despairing attitude that Pier represented.

The last two circles of hell contained the sinners of fraud.In the eighth circle, there were ten ditches for the various types of fraud such as Simony, thievery, hypocrisy, etc.Canto XIX described the third ditch, which contained those guilty of Simony, the sin of church leaders perverting their spiritual office by buying and selling church offices.Simonists were buried upside down in a rock with their feet on fire.Pope Nicholas III mistakenly addressed Dante as Pope Boniface VIII who was the current Pope in 1300, and whose place in hell was thereby predicted.This is not surprising since Boniface was the person most responsible for Dante's exile.In an interesting literary twist, Nicholas "confessed" to Dante, as if he was a priest, his sin of greed and nepotism.He admitted that even after becoming Pope he cared more for his family's interests than the good of the whole Church.Dante responded to Nicholas' "confession" with a stinging condemnation of Simony drawn from the Book of Revelation.After this encounter, Dante came to understand that hell was a place of justice.

Canto XXXIV, the last one in the Inferno, depicted Satan with three heads.Each head was chewing the three worst sinners of humankind.The middle head was chewing on the head of Judas Iscariot, who was a disciple to Jesus and his betrayer.The other two heads were chewing Brutus and Cassius; the murderers of Julius Caesar, and the two men Dante faulted for the destruction of a unified Italy.Dante considered the two ultimate betrayals against God and against the empire as the worst betrayals perpetrated in the history of humankind.

Thus, Dante's intent in his Commedia was to teach fourteenth-century readers that if one wanted to ascend spiritually towards God then one needed to learn the nature of sin from the unrepentant.By doing this, one could learn to overcome the same tendencies found in themselves.He wanted people to realize what he had come to learn that political partisanship would only stand in the way of unifying Italy and keep it from regaining any of its former glory that it enjoyed during the time of the Roman Empire.

Recommended reading for anyone interested in literature and medieval history.

A good new translation
Kirkpatrick's translation of the first book of Dante's 'Divine Comedy' is the latest of a series of Penguin editions of Dante's works.It has a good commentary and introduction to the text.

Dante of course really needs no introduction.He is in my view the Western world's finest poet between Virgil and Shakspeare.His visionary genius, incredible intellect and ability to see and integrate several aspects of the medieval world view as a whole are unmatched by any writer or poet of the medieval era.He is the poetic equivalent of Thomas Aquinas.

The Divine Comedy is a journey within and without, to the deepest parts of hell to the highest realms of heaven to the vision of God himself.You get the sense in reading Dante no word is superfluous, every letter has its place in a beautifully precise and organic scaffolding of art.The unity of his poetic vision and his ability to execute it, place him in the same rank of genius as Homer, Virgil, Shakespeare and Milton.

The poem is at the deepest level an allegory of the journey into the depths of the egoistic self (hell) to the beatific vision, where God is found within through the means of graced vision.While Dante may be read in other ways (he certainly was influenced by political, social and class concerns, so a Marxist and feminist interpretation is possible) his spiritual and psychological journey is just as important.

Dante is timeless, even if his view of the cosmos seems absurd and antiquated in our time when clearly there is no empyrean but only an expanding infinite universe of billions of galaxies.Still, if Dante were alive today, I doubt he would have any trouble incorporating our cosmology into a comprehensive vision, such was this man's genius. ... Read more

Product Description
This brilliant new verse translation by Allen Mandelbaum captures the consummate beauty of the third and last part of Dante's Divine Comedy. The Paradiso is a luminous poem of love and light, of optics, angelology, polemics, prayer, prophecy, and transcendent experience. As Dante ascends to the Celestial Rose, in the tenth and final heaven, all the spectacle and splendor of a great poet's vision now becomes accessible to the modern reader in this highly acclaimed, superb dual language edition. With extensive notes and commentary. ... Read more

Customer Reviews (7)

A stint in Purgatorio
"To course across more kindly waters now/my talent's little vessel lifts her sails/leaving behind herself a sea so cruel..."

Having finished his tour of hell and its residents, Dante Alighieri turns his attention to a more cheerful (if less juicy) supernatural realm. "Purgatorio" is less famous than its predecessor, but it's still a beautiful piece of work that explores the mindset not of the damned, but of sinners who are undergoing a divine cleansing -- beautiful, hopeful and a little sad.

Outside of Hell, Dante and Virgil encounter a small boat piloted by an angel and filled with human souls -- and unlike the damned, they're eager to find "the mountain." And as Hell had circles of damnation, Purgatory has terraces that the redeemable souls climb on their way towards Heaven, and none of the people there will leave their terrace until they are cleansed.

And the sins that are cleansed here are the seven deadly ones: the proud, the envious, the wrathful, the greedy, the lazy, the gluttonous, and the lustful. But as Dante moves slowly through the terraces, he finds himself gaining a new tour guide as he approaches Heaven...

I'll say this openly: the second part of the "Divine Comedy" is simply not as deliciously entertaining as "Inferno" -- it was kind of fun to see Dante skewering the corrupt people of his time, and describing the sort of grotesque punishments they merited. But while not as fun, "Purgatorio" is a more transcendent, hopeful kind of story since all the souls there will eventually be cleansed and make their way to Heaven.

As a result, "Purgatorio" is filled with a kind of eager anticipation -- there's flowers, stars, dancing, angelic ferrymen, mythic Grecian rivers and an army of souls who are all-too-eager to get to Purgatory so their purification can start. Alighieri's timeless poetry has a silken quality, from beginning to end ("But here, since I am yours, o holy Muses/may this poem rise again from Hell's dead realm/and may Calliope rise somewhat here/accompanying my singing...") and it's crammed with classical references and Christian symbolism (the Sun's part in advancing the soiled souls).

And the trip through Purgatory seems to have a strong effect on Dante's self-insert, who appears less repulsed and more fascinated by what he sees there. It's hard not to feel sorry for him when the paternal Virgil exits the Comedy, but at least he has someone else appears to guide him.

The middle part of the Divine Comedy isn't as juicy as "Inferno," but the beauty of Dante Alighieri's writing makes up for it."Purgatorio" is a must read... and then on to Paradise.

Impressive
Third volume of the Divine Comedy, focusing on the narrator's ascent into the height of religious truth, mystery, beauty and goodness. This volume suffers from an interest issue compared to the previous ones in that there's a direct absence of drama or real striking, and lends itself to a staleness that usually occurs in an attempt to intimately describe the ultimate good, whether it's God, utopia or heaven. Surprisingly, that didn't happen in this work, and the result proved itself actually quite engaging. It wasn't flawless, and in the early sections particularly was rather slow in pace, seeming to drift somewhat and struggle to find the proper balance between description and speeches. Another persistent point of irritation was the stopping of the heavenly focus to have some character deliver a pointed Take That against a corrupt politician or pontiff of Dante's time. Of course a large purpose of the Divine Comedy had been to threaten and torment people that Dante didn't like. At least it was the main point in Inferno, here the drawn out condemnations feel redundant and jarring. Similarly, the views on politics don't emerge as hugely productive, seeming at once over conventional and too dated by the context of the time.

Ultimately the volume works on the strength of its poetry and the way it's able to energetically imagine what it insists is beyond imaginable. This structure builds up a surprisingly effective source of dramatic tension, between the format offered by aesthetics and the effort to explore religious summit. Ultimately while I'm thoroughly not a believer and found the whole Christian labeling rather irksome there are a lot of scenes of great emotional energy and literary talent. It scopes about explicitly eternity, and offers an attempt at working in ultimates that is quite powerful.

Better than: Purgatorio by Dante Alighieri
Worse than: Revolt of the Angels by Anatole France

Noted poet/scholar Allen Mandelbaum's moving, faithful (inexpensive!) translation
I've read THE DIVINE COMEDY in the original Italian and I highly recommend poet and scholar Allen Mandelbaum's acclaimed (facing page) translation (in 3 inexpensive mass-market paperbacks from Bantam: Inferno (Bantam Classics): 0553213393 / Purgatorio (Bantam Classics): 055321344X / Paradiso (Bantam Classics): 0553212044). Originally published in hardcover by the University of California Press, these free-verse English works carry the melancholic tone and the humanity of the original more faithfully than several other translations I've read. The maps/charts/notes for these mass market paperbacks are excellent (if relatively brief) and will likely satisfy the reader with a general interest in World Literature.

There is no end of commentary out there, extending back to Dante's own time (700 years worth!). Many Italian Studies professors lament that Dante's most famous work gets duller with each volume. I disagree, in part. Though the INFERNO is undoubtedly the most dramatic, I believe that the PURGATORY is the most satisfying, because it is so recognizably human. The PARADISE is not my favorite as I've never been enthusiastic about theology, though the PARADISE (and THE DIVINE COMEDY in toto) may be best appreciated as a microcosm of medieval European thought. One must also appreciate the difficult conditions under which this masterpiece was composed -- in exile -- no doubt a much more trying experience in early 14th century "Italy" than in our time. You don't have to agree with Dante to admire him and his art. The man suffered, and you can feel it. I believe the intensity of feeling in the poem is, in part, what distinguishes it from many other well-known epic poems which demonstrate more artifice than humanity.

N.B.: Mandelbaum's complete translation of THE DIVINE COMEDY is also available in a single-volume, portable cloth-hardcover edition, though the single-volume is in English with no facing-page original Italian (and with notes by Peter Armour): Everyman's Library, ISBN 0679433139. The Divine Comedy: Inferno; Purgatorio; Paradiso (Everyman's Library)
If you find you love Mandelbaum's translation and Barry Moser's haunting ink-wash illustrations, you can search for the original (bilingual) editions from the Univ. of CA Press.

If you're looking for a different translation of The Divine Comedy, many scholars agree that the following free-verse English-language versions are currently the pick of the crop (and also more expensive than the Mandelbaum/Bantam Classics):

Robert Durling's INFERNO and PURGATORIO translations with excellent, brief notes (and beautiful maps and cover illustrations) -- Oxford Univ. Press. Durling is currently working on his translation of the PARADISO;

Charles S. Singleton's scholarly translation/notes for the Inferno/Purgatory/Paradise are expensive (though you might find inexpensive used copies), and probably best appreciated by Dante aficionados -- Princeton Univ. Press;

At this time I have not yet read the recent translations by the Hollanders, which are said to be fantastic. I believe much of the praise is for the accompanying notes which condense Hollander's voluminous knowledge. I've read some of the notes and they are very impressive. Robert Hollander is another esteemed Dante scholar.

Dedicated students of Dante will want to check out Princeton's online Dante database (the Princeton Dante Project [PDP] and Dartmouth College's online Dante database, the Dartmouth Dante Project [DDP], both directed by Robert Hollander.

If you're looking for an attempt at capturing the rhyme of the original Italian (terza rima), a Norton Critical Edition of Michael Palma's rhyming translation of the Inferno (Norton Critical Editions) (edited by Giuseppe Mazzotta) is available (ISBN-10: 039397796X ; ISBN-13: 9780393977967). The NCE is loaded with great supplementary material (annotation, backgrounds, criticism, etc.).

Other attempts at capturing the Dante's rhyme scheme: Longfellow (edited by the Bondanellas of Indiana Univ.), Dorothy Sayers or Laurence Binyon (L.B.'s is out-of-print but available through used booksellers).

John A. Scott's UNDERSTANDING DANTE (The William and Katherine Devers Series in Dante Studies) may be the best and most comprehensive one-volume guide in English to Dante Alighieri and his work. I've read much on Dante and found it fascinating and highly informative--but more significantly, it's been highly praised by a number of notables in the field. ISBN-10: 0268044511.

Triumph of Style over Story
Paradiso is inherently dull. The very nature of heaven makes it so. Not only is there no flesh, there is no conflict and there isn't even any change. With the stuff of drama absent and only bliss to look upon, what is there to say? Or rather, what is there to listen to?
In this case, as the story of our poet recedes and as Virgil is replaced by the ethereal Beatrice, the substance of the poem becomes the poetry. That is, the voice of Dante becomes paramount. If you read this in Italian, that's reward enough. I would guess that Paradiso is the canticle most often quoted in the original language.
In English however, this is tough sledding. The wily Ciardi didn't quite pull it off and all the earlier translations are hopeless. Then along comes Mandelbaum. The language is elevated without being unreachable. It is still not a volume that's impossible to put down, but it is a volume that you have to pick up again and again.

Lynn Hoffman, author of bang BANG: A Novel

The Closing Of The Trilogy
As with the other two books of the Divine Comedy, Paradiso could be a stand alone work of literature in its own right.The Grande Finale of Dante's massive poem ends with a flourish and upholds the tradition of masterful writing set forth by Inferno and Purgatorio.

This book should only truly be read upon completing Inferno and Purgatorio as many of the asides and relationships were first developed there.Allen Mandelbaum does a wonderful job of translating the poem but of also providing the reader with numerous notes and explanations on certain phrases or objects within the Cantos.This version is by far the easiest and most complete and can be enjoyed by both the casual and experienced reader. ... Read more

Product Description
Dante Alighieri (1265-1321) is one of the most important and innovative figures of the European Middle Ages. Writing his Comedy (the epithet 'Divine' was added by later admirers) in exile from his native Florence, he aimed to address a world gone astray both morally and politically. At the same time, he sought to push back the restrictive rules which traditionally governed writing in the Italian vernacular, to produce a radically new and all-encompassing work. The Comedy tells the story of the journey of a character who is at one and the same time both Dante himself and Everyman. In The Inferno, Dante's protagonist - and his reader - is presented with a graphic vision of the dreadful consequences of sin, and encounters an all-too-human array of noble, grotesque, beguiling, ridiculous and horrific characters. ... Read more

Customer Reviews (1)

Audacious journey
This is a review of the Nicholas Kilmer 1985 translation, illustrated by Benjamin Martinez.

There have been over 700 years of commentary on this classic, so I won't add anything original here. On the web search for "Dartmouth Dante Project" and you will find many. The reading is helped by added commentary, for example understanding the role of Beatrice or Francesca as heroine. The Dorothy Sayers translation offers more background information. The audaciousness of the poet to enter this realm of Biblical themes is remarkable, as his ability to garner sympathy for some of the sinners, such as Ugolino. Its fun to think where Dante would have placed some of today's public figures. Kilmer's translation is clear and straightforward, fairly modern sounding. For example contrast Kilmers(from Cantos XXiv):

Quicker than I cross t, dot i,
he kindled, burned, and falling down,
was completely changed to ashes

versus Sayers:

Never did writer with a single dash
Of the pen write "o" or "i" so swift as he
Took fire, and burned, and crumbled way to ash.

After I read the poem, I studied the dark illustrations by Benjamin Martinez and they present another view of the journey. ... Read more

Product Description
Many have made the journey. None have ever returned. Wandering through a dark forest, Dante finds himself at the gates to the underworld. Despite his terror, he dares to enter the Circles of Hell, where the damned lie in torment. As he descends deeper, he encounters wild-eyed sinners, sees the three-headed, howling hound Cerberus, and meets a long-dead prophet who foretells Dante's destiny. He passes through realms of fire and ice, and at last reaches the frozen heart of Hell where the hideous Satan, greatest of all the damned, lies in wait. ... Read more

Customer Reviews (1)

Good introduction, but little else
The Penguin Epics selection of Dante is rather ungenerous--a little over half of Inferno is reproduced here in the subpar but entertaining Sayers translation.

This book includes the most famous sections of Inferno, which is only the first of the three canticles of Dante's Divine Comedy. How and why these sections were selected must remain a mystery, as there is no foreword or introduction to explain the selection process, only a brief note that will tell you nothing more than I have written here.

There are no notes, which may pose a problem to anyone unfamiliar with Dante or the mythological and historical figures to which he repeatedly refers. If you are looking for a highly readable and complete edition of The Inferno, check out the Mark Musa and Anthony Esolen translations.

Recommended as rainy day reading for anyone who already likes Dante. ... Read more

Product Description
SO were mine eyes inebriate with view Of the vast multitude, whom various wounds Disfigur'd, that they long'd to stay and weep.

But Virgil rous'd me: "What yet gazest on? Wherefore doth fasten yet thy sight below Among the maim'd and miserable shades? Thou hast not shewn in any chasm beside This weakness. Know, if thou wouldst number them That two and twenty miles the valley winds Its circuit, and already is the moon Beneath our feet: the time permitted now Is short, and more not seen remains to see."
... Read more

Customer Reviews (1)

Medieval vision of the afterlife
This was required reading for a graduate course in medieval history.Norton edition has great articles to help explain the work and is a great translation.The other great translation is by Mark Musa."The Divine Comedy" describes Dante's journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso), guided first by the Roman epic poet Virgil and then by Beatrice, the subject of his love and another of his works, "La Vita Nuova." While the vision of Hell, the Inferno, is vivid for modern readers, the theological niceties presented in the other books require a certain amount of patience and scholarship to understand.Purgatorio, the most lyrical and human of the three, also has the most poets in it; Paradiso, the most heavily theological, has the most beautiful and ecstatic mystic passages in which Dante tries to describe what he confesses he is unable to convey (e.g., when Dante looks into the face of God: "all'alta fantasia qui mancò possa" - "at this high moment, ability failed my capacity to describe," Paradiso, XXXIII, 142).

Dante wrote the Comedy in his regional dialect.By creating a poem of epic structure and philosophic purpose, he established that the Italian language was suitable for the highest sort of expression, and simultaneously established the Tuscan dialect as the standard for Italian. In French, Italian is nicknamed la langue de Dante.Publishing in the vernacular language marked Dante as one of the first (among others such as Geoffrey Chaucer and Giovanni Boccaccio) to break from standards of publishing in only Latin or Greek (the languages of Church and antiquity).This break allowed more literature to be published for a wider audience - setting the stage for greater levels of literacy in the future.

Readers often cannot understand how such a serious work may be called a "comedy".In Dante's time, all serious scholarly works were written in Latin (a tradition that would persist for several hundred years more, until the waning years of the Enlightenment) and works written in any other language were assumed to be comedic in nature.Furthermore, the word "comedy," in the classical sense, refers to works which reflect belief in an ordered universe, in which events not only tended towards a happy or "amusing" ending, but an ending influenced by a Providential will that orders all things to an ultimate good.By this meaning of the word, the progression of Dante's pilgrim from Hell to Paradise is the paradigmatic expression of comedy, since the work begins with the pilgrim's moral confusion and ends with the vision of God.

The Divine Comedy can be described simply as an allegory: Each canto, and the episodes therein, can contain many alternate meanings.Dante's allegory, however, is more complex, and, in explaining how to read the poem (see the "Letter to Can Grande della Scala"), he outlines other levels of meaning besides the allegory (the historical, the moral, the literal, and the anagogical).The structure of the poem, likewise, is quite complex, with mathematical and numerological patterns arching throughout the work, particularly threes and nines.The poem is often lauded for its particularly human qualities: Dante's skillful delineation of the characters he encounters in Hell, Purgatory, and Paradise; his bitter denunciations of Florentine and Italian politics; and his powerful poetic imagination.Dante's use of real characters, according to Dorothy Sayers in her introduction to her translation of "L'Inferno", allows Dante the freedom of not having to involve the reader in description, and allows him to "[make] room in his poem for the discussion of a great many subjects of the utmost importance, thus widening its range and increasing its variety."

Dante called the poem "Comedy" (the adjective "Divine" added later in the 16th century) because poems in the ancient world were classified as High ("Tragedy") or Low ("Comedy"). Low poems had happy endings and were of everyday or vulgar subjects, while High poems were for more serious matters. Dante was one of the first in the Middle Ages to write of a serious subject, the Redemption of man, in the low and vulgar Italian language and not the Latin language as one might expect for such a serious topic.

Paradiso
After an initial ascension (Canto I), Beatrice guides Dante through the nine spheres of Heaven. These are concentric and spherical, similar to Aristotelian and Ptolemaic cosmology.Dante admits that the vision of heaven he receives is the one that his human eyes permit him to see. Thus, the vision of heaven found in the Cantos is Dante's own personal vision, ambiguous in its true construction.The addition of a moral dimension means that a soul that has reached Paradise stops at the level applicable to it.Souls are allotted to the point of heaven that fits with their human ability to love God.Thus, there is a heavenly hierarchy. All parts of heaven are accessible to the heavenly soul.That is to say all experience God but there is a hierarchy in the sense that some souls are more spiritually developed than others.This is not determined by time or learning as such but by their proximity to God (how much they allow themselves to experience him above other things).It must be remembered in Dante's schema that all souls in Heaven are on some level always in contact with God.

Recommended reading for anyone interested in literature and medieval history.
... Read more

Product Description
This is The Divine Comedy - Inferno by Dante Alighieri in it's original Italian with a line by line English Translation by Henry Wadsworth Longfellow. This edition has been carefully edited with an easy to use Table of Contents linking you to each Canto. Also included is a short synopsis at the end of each Canto. The original illustrations by Gustave Dore are inserted throughout. Because of the large amount of content, The Divine Comedy has been issued in 3 volumes. This is the first volume - Inferno - Hell. All three volumes have been issued simultaneously so you can acquire the complete set.

This is a sample of the easy to read dual language format used in this issue. Dante wrote The Divine Comedy in 3 line stanzas with triple rime and this format has been maintained throughout.

1. Nel mezzo del cammin di nostra vita
1. Midway upon the journey of our life

2. mi ritrovai per una selva oscura
2. I found myself within a forest dark,

3. che' la diritta via era smarrita.
3. For the straightforward pathway had been lost.

4. Ahi quanto a dir qual era e` cosa dura
4. Ah me! how hard a thing it is to say

5. esta selva selvaggia e aspra e forte
5. What was this forest savage, rough, and stern,

6. che nel pensier rinova la paura!
6. Which in the very thought renews the fear.


7. Tant'e` amara che poco e` piu` morte;
7. So bitter is it, death is little more;

8. ma per trattar del ben ch'i' vi trovai,
8. But of the good to treat, which there I found,

9. diro` de l'altre cose ch'i' v'ho scorte.
9. Speak will I of the other things I saw there.

... Read more

Product Description
THE hue, which coward dread on my pale cheeks Imprinted, when I saw my guide turn back, Chas'd that from his which newly they had worn, And inwardly restrain'd it. He, as one Who listens, stood attentive: for his eye Not far could lead him through the sable air, And the thick-gath'ring cloud. "It yet behooves We win this fight"--thus he began--"if not-- Such aid to us is offer'd.--Oh, how long Me seems it, ere the promis'd help arrive!" ... Read more

Product Description
This is an OCR edition without illustrations or index. It may have numerous typos or missing text. However, purchasers can download a free scanned copy of the original rare book from GeneralBooksClub.com. You can also preview excerpts from the book there. Purchasers are also entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Original Published by: W.E. Painter in 1843 in 298 pages; Subjects: Literary Criticism / European / Italian; Poetry / General; Poetry / Inspirational & Religious; Poetry / American / General; Poetry / Continental European; ... Read more

Customer Reviews (10)

Donte's Inferno
This is one of the best books I have read in a very long time. It is truely a classic.

A Heretical Perspective
In the relatively recent past, there has been a "spate" of new translations of the great classic poems:these include the Fagles versions of "Aeneid", "Iliad" and "Odyssey"; the Heaney "Beowulf"; the Hughes "Tales from Ovid".The Ciaran Carson "Inferno" now joins the list, accompanied by a chorus of critical accolades ("Quite simply the best version of Dante there is", according to Mr. Paul Muldoon's back-jacket blurb). I've read the Lawrence Grant White (1948, Pantheon Books, accompanied by gorgeous illustrations by Gustave Dore) and the C.H. Grandgent (1947 Viking Portable) versions and, in my estimation, the Carson version is the least "poetic" and interesting of these options.

Having no knowledge of medieval Tuscan, I cannot comment on the actual degree of correspondence between this translation and the original, but based on various disclaimers Carson makes in his introduction, I suspect there are few.In fact, he hints that great liberties were taken and admits he had no understanding of the original language when he undertook this "translation".Given that, I was curious as to how this work was accomplished.Some hints of what transpired ("translating ostensibly from the Italian, Tuscan or Florentine, I found myself translating as much from English or various Englishes...").Carson is disarmingly candid in further admitting that, "Some phrases and rhymes have been adapted, adopted or stolen(from previous translators).." and then he lists 6 translators whose work he "boosted".

All that aside, how does this read?Not very well.In fact, the poetry seems to have been stripped from the poem, leaving a "modern" form that does not give much hint regarding its ancient origins.In the preface to "Paradise Lost" (Oxford edition), Philip Pulman makes reference to "updated versions" such as this and...he is quite dismissive of them.Seemingly, in an effort to make the original more "accessible" to modern audiences, something is "lost in the translation of the translation", if you will. To me, this version is stark and joyless.Here is one example from Canto V 121.The Carson version: "There is no greater pain, I fear, than to recall past joy in present hell..." or this from the L.G. White version: "There is no greater grief Than to recall a bygone happines In present misery...", or this, "There is no greater sorrow than to recall, in misery, the time when we were happy...", or perhaps this, "No grief surpasses this In the midst of misery to remember bliss" (C.H. Grandgent version).

In conclusion, there is much to be said for discarding antiquated English or removing added flourishes from previous translations.These points can be compellingly argued in the case of the Penguin translations of Proust when compared to the Moncrieff versions.However, unlike the Fagles versions of Homer ("updated" but not stripped of content), the Carson version is a "Waste Land" (pardon the pun), rather than an "Inferno".

The Inferno of Dante Alighieri
The product was in excellent condition as stated in the ad.Delivery was on time and I would purchase again from the seller.

The Inferno of Dante
A wow translation, written by an Irishman who walked the streets of divided bloody Belfast for inspiration, I've read a number of Infernos, so far Carson is my favorite

Terrific translation of a classic
When I finally decided to try to plug some of the holes that my 'classical education' had somehow left unfilled, "The Inferno" was high on my list. Since I don't know any Italian, choosing a decent translation was one of the first questions to be addressed. I spent an hour in Cody's comparing various options (there are a gazillion translations out there) - this was one of two that I ended up buying.

Surprisingly (to me at any rate), roughly half of the available translations chose the low road of not even bothering to preserve Dante's famous terza rima metric scheme, with the excuse that only a 'literal translation' can convey the meaning adequately. Fie on your laziness, say I - it obviously can be done, even if you are too lamebrained to try. So I rejected the 'literal translations' out of hand, for the same reason that I would not choose a translation of 'Eugene onegin' that didn't at least try to preserve Pushkin's meter, when it is obviously such an intrinsic aspect of the work.

I can't vouch for the fidelity of Carson's translation, but I liked it a lot. He does well by the terza rima, while managing to achieve an overall natural flow of the language. At times it is highly colloquial, which might disturb the purists:

"Ratbreath, when he heard this, rolled his eyes,
and hissed 'Don't listen, it's a dirty trick,
so he can jump. He must think we're not wise.'

And he, whose AKA was Señor Slick,
replied: 'It's dirt indeed, to get my comrades
in the s**t; in fact, it's rather sick.'

Now Harley Quinn, unlike the other blades,
was eager for some sport. "

Canto XXII, lines 107-114.

As for the work itself, I think everyone knows the story. I haven't read "Purgatorio" or "Paradiso" yet - it seems highly likely to me that the "Inferno" is the most fun of the three, if only because it's entertaining to see how he uses it as a vehicle for getting even with his enemies. But, if you've been putting it off for years because you're intimidated by its status as a "classic", don't be put off any longer. It's actually a lot of fun, and easy to read.

Comparing translations is an auxiliary source of entertainment, for those (like myself) who enjoy that kind of thing ... Read more

Product Description
The Divine Comedy has been a cornerstone of Western literature for the better part of a millennium. In this work, Joseph Gallagher brings the power and prestige of this medieval classic to a new generation of readers--taking them on a guided tour through heaven, purgatory, and hell.

(Formerly titled To Hell and Back with Dante) ... Read more

Customer Reviews (10)

A wonderful guide for the modern reader
This book is an excellent layman's companion to the Divine Comedy.Through his writing, Gallagher functions as a modern-day Virgil, guiding the reader through all 100 cantos of Dante's magnum opus.Gallagher peels away the obscure references, intricate politics, and esoteric philosophy of Dante's work to reveal the Divine Comedy's enduring core.Gallagher also allows the reader to take in centuries of reaction to Dante by pointing out allusions to the work in the writings of Chaucer, Pound, Shelley, and others.Especially enlightening are the short descriptions and commentary (1-4 pages) of Dante's lesser works, such as the "De Monarchia," "De Vulgari Eloquentia," and his poems.These help prevent Dante from becoming a one hit wonder and situate his Divine Comedy in a better context.

There are a few shortcomings.Gallagher foolishly believes that in "Inferno," Dante is "clearing the record" about literally breaking a baptismal font in Florence's Baptistry in order to save a child.(The event is obviously purely symbolic and refers to his criticism of the Catholic Church.)Gallagher also gets too involved in trying to link some of the symbols to real people/events (like the She-Leopard of Canto I) that do not have any counterpart in reality.But I am nit-picking in this matter, and think that these problems do little to detract from the overall enjoyable experience of Gallagher's book.

I would recommend this text to anyone who is tackling the Divine Comedy for the first time or to any non-scholar who is visiting it again.It's highly readable and clearer than most commentaries.

not the best
With apologies, I must state the simple truth: Philip Hawkins, Dante: a Brief History Dante: A Brief History (Blackwell Brief Histories of Religion) is the best introduction to Commedia in english. Gallagher is no slouch and this is no put down:Hawkins is just better. I admit that may be prejudiced by the fact that when I started my own book on Inferno Dante's Journey: A Field Guide to the Infernal RegionsI used Gallagher first and discarded it because it was light on detail, and found Dante: a Brief History a big help, and Hawkins other book Dantes Testaments: Essays in Scriptural Imagination (Figurae: Reading Medieval Culture) even more so, but a think Hawkins' book is as well organized as Gallagher's, as engaging and has the advantage on depth.

Divine Comedy made clear
Gallagher's review was immensely helpful to me.I am a college graduate in literature but this was my first reading of [[ASIN:0764804944 A Modern Reader's Guide to Dante's the Divine Comedy].He analyzes each Canto and his book can be used side-by-side with your translation of choice.Sometimes I would read his analyses more than once, then return to Dante with renewed comprehension.

I highly recommend Gallagher's Guide to the uninitiated high school to college graduate: he takes you deeply into the text and decodes the individuals with whom Dante floods the Comedy, characters famous to Dante's contempories but unfamiliar to the contemporary reader.The book isaccessible and helpful.

What Used To Be Called Cliff's Notes
I picked up a copy based on the reviews, but I was shocked by what I found.This is a summary of the various cantos and nothing more.

If you need something to cram for a test and you haven't read the assigned cantos yet, then this may be for you.

On the other hand, if you're in need of a serious introduction (not to mention some kind of knowledgeable annotation), then go to a book with footnotes (Hollander, Singleton, Durling, Musa).

My mistake
I erroneously thought I was ordering the actual Inferno and not a commentary.This is the first item I have ever had to return with Amazon and I am ABSOLUTEY IMPRESSED!!!!It was SOOO easy and my credit was issued quickly.
Thank you! ... Read more

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Get your "A" in gear!

They're today's most popular study guides-with everything you need to succeed in school. Written by Harvard students for students, since its inception SparkNotes™ has developed a loyal community of dedicated users and become a major education brand. Consumer demand has been so strong that the guides have expanded to over 150 titles.SparkNotes'™ motto is Smarter, Better, Faster because:

· They feature the most current ideas and themes, written by experts.
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And with everything covered--context; plot overview; character lists; themes, motifs, and symbols; summary and analysis, key facts; study questions and essay topics; and reviews and resources--you don't have to go anywhere else!



... Read more

Product Description
This is a translation of all the lyric poems written by Dante Alighieri, except the Divine Comedy. It includes two Latin Eclogues. This bilingual edition of the poems includes also the poems of the Vita Nova. The full text of the Vita Nova is included only in Italian. ... Read more

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This is a retelling of Dante's Divine Comedy written especially for young people by poet, novelist and translator Joseph Tusiani. The author combines summary, paraphrase and Dante's own lines translated into English verse to tell a timeless story of sin and salvation. ... Read more

Customer Reviews (1)

Useful book for reading group
I was thrilled to find this re-telling of The Divine Comedy for young people.I plan to use this book in a junior high reading group that will be travelling to Florence later in the year.It is a quirky book, I found a few typos, but the re-telling of the story is perfect for my purpose.I highly recommend it, particularly for assigned, guided reading where there will be opportunity for clarification of confusing religious concepts. ... Read more

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Customer Reviews (2)

My niece loves it!
I personally have not heard this audio drama, butpurchased this for my niece for whom I have given her the book of the same title.
When asked about her opinion about this audio drama her reply was "awesome". I hope that helped :D

Dante drive thru
This audio version of the Classic Inferno is only a single disc edition of the book. Even though it is dramatized this does not make up for its brevity.
However, if you just want a little taste of Inferno then this might be for you; just a one hour trip through hell. If you want the entire text on audio look elsewhere. ... Read more

Product Description
This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

Customer Reviews (19)

A thought provoking classic
"Educated people," say scholars, especially classical scholars who devote themselves to classical literature, "must read classics." Vita Nuova, one of Dante's earliest works, is such a classic. Yet while reading the classics clearly improves the reader's mind, no scholar would argue that reader must agree with what the author writes. Plato and Aristotle, the two great philosophers, are an example. The two have diametrically opposed worldviews and it is impossible to agree with both of them, except when a reader selects ideas from each; in which case these philosophers would say that the reader accepts the view of neither of them.
Dante, like all people, is searching for meaning in his life. He finds "all my bliss in Beatrice." He tells how his meeting with the metaphorical Beatrice, who later reappears in his Divine Comedy as his guide, and the Lord of Love changed his life. "Whatever happened before his `new life,'" writes the translator in his introduction, "is of no importance here."
This Dante notion is reminiscent of people who convert religions or who are "born again." But is this true? Should we accept the author's and translator's view? Does the past have no impact upon future life and thinking when a person converts? Or, do the past and new notions exist side by side, with the past exerting itself continually, creating a constant struggle. This is a question for readers to address while they read this fine book.

The Declaration of Independence ...
... of the individual, of individual self-consciousness. That's the "sense" -- proprioception -- implied in Dante Alighieri's The New Life, written circa 1293 when the poet was about 25 years old. I know it's a brash assertion, but I take La Vita Nuova to be the founding document of 'modern' literature. Dante himself declared as much in asserting the novelty of writing in 'spoken' language, i.e. Italian, rather than 'written' language, Latin, and scholars have always credited him with initiating Italian as a poetic language. Trouveres and troubadours had been writing their intricate fixed-form lais and ballades, in Provençal and French, for decades previously, but Dante had something more in mind. La Vita Nuova included his youthful sonnets and canzone, replete with formulaic chivalry, in La Vita Nuova, and then he did something revolutionary: he reflected upon himself in the act of creation. Each of the poems is set in a double context of prose, one part analyzing the 'poetics' as such, the mechanics of versifying, and the other depicting the poet's state of mind when he wrote, in the context of the events of his mortal life. That alone was novel enough, I think, to justify regarding La Vita Nuova as 'the birth of the modern'.

Paradoxically, for most people in the 21st C, Dante would be the epitome of Medievalism, the last verbose shudder of the Dark Ages. Well, yes, there's plenty that's quaint in La Vita Nuova, especially in this 1861 translation with its deliberately archaic syntax and vocabulary. Dante's 'defensiveness' about personifying Love -- in the philosophical terms of his time, an 'essence' rather than a 'substance' -- will seem like a moot question to most modern readers, and his obsession with numerology, with the number 9, will perplex us gravely. It may help to know that Dante was far less venerated in the centuries from 1300 to 1600 than in ours, and far less read than Petrarch. It was a shock to his audience when the late 16th C madrigalist Luca Marenzio set sonnets by Dante to the most daringly expressive chromatic music. Dante was never totally forgotten, of course, but it was German and English 19th C Romanticism that elevated him to literary Godhead. This translation, by the appropriately named Dante Gabriel Rossetti, played a large role in the shift in cultural taste in Europe, from the classicism of the Enlightenment to the neo-Medievalism of Rossetti's Pre-Raphaelites and of Richard Wagner. That historical 'hinge' is the only reason I could offer for choosing Rossetti's translation instead of the many more fluent versions that have followed. The Dover Thrift price is attractive, naturally, but Dover also publishes a bilingual "La Vita Nuova" for just a couple bucks more.

Hardcover edition is an Italian-only facsimile of an 1876 edition
The hardcover edition I purchased from Amazon (12/09) does not contain Cervigni and Vasta's new English translation of the Vita Nuova. Instead, it contains a facsimile ofCarlo Witte's 1876 _La Vita Nuova di Dante Allighieri. Ricorretta coll'ajuto di testi a penna ed illustrata_ (Leipzig, F.A. Brockhaus). This edition includes: an introductory note, a survey of extant MSS of the Vita Nuova, a survey of print editions of the Vita Nuova available circa 1876, tables of contents for the work as a whole and for the poetic compositions, and finally Witte's critical edition. Especially charming are the underlined passages and marginalia of some unknown reader of the particular text that got reprinted for this new edition.

I intended this book as a gift for a non-reader of Italian, who I thought would enjoy Dante's _libello_ on love, awakening, and transcendence. Clearly I'm going to have to find an alternative!

I can't imagine that this edition will be interesting to anybody but scholars of medieval Italian literature. Luckily, I happen to be one of those, so I'm keeping it.

good translation
I needed this book for an adult ed course. Easy to read with a clear introduction

Should have read this when I was 16!!!
I received this book when I was half-way through the Divine Comedy because that book was so good, but based on other opinions, I braced myself with the belief that this book would not be as good. Well, I read it in three days, after I finished the Divine Comedy, and there were so many great things about this story. Simply the fact that it gave some background information on the Divine Comedy was great enough, but the lyrical prose that surrounded Dante's 31 poems was stellar in addition to the great poetry. It was not only that, because this story was something I could relate to, except for the part when Beatrice dies. The reason behind this is that, even 700 years ago, gossip was still a large part of a person's experience as a child, which is something I think all of us have experienced at some time in our lives. This happens primarily in the first half of the book and reminds me of myself when I was a few years younger, as I am 18 years old, which is why it would have been great to read when I was 16, and which is why I recommend it especially for younger readers.

***Notes on Edition***
I was a little put off at first by the fact that the translator has the summary of the book at the beginning, meaning that if you read it, you cannot really find out what happens as you read it. However, after finishing the book, I found that it was actually helpful to understand the story better, as well as to trace the thematic elements through the book, such as the importance of the number 9, and the structure of the book. It then allowed me to refer back to it if I thought I might have missed something, which I would not have noticed otherwise. Plus, the translator, Musa, has provided notes at the end for parts of the story that might be alluding to historical insights, but I did not really understand that some of the notes were just a translation into the vernacular Italian. Nevertheless, it was still a great edition. However, one criticism that I do have was the fact that Mark Musa did not translate it in a fashion that mirrored how Dante had written it, which I had become accustomed to after reading Ciardi's translation of the Divine Comedy, but this is a small complaint that should not hinder your purchase of this wonderful story, no matter what translator you choose! ... Read more

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Robert Durling's spirited new prose translation of the Paradiso completes his masterful rendering of the Divine Comedy. Durling's earlier translations of the Inferno and the Purgatorio garnered high praise, and with this superb version of the Paradiso readers can now traverse the entirety of Dante's epic poem of spiritual ascent with the guidance of one of the greatest living Italian-to-English translators.
Reunited with his beloved Beatrice in the Purgatorio, in the Paradiso the poet-narrator journeys with her through the heavenly spheres and comes to know "the state of blessed souls after death." As with the previous volumes, the original Italian and its English translation appear on facing pages. Readers will be drawn to Durling's precise and vivid prose, which captures Dante's extraordinary range of expression--from the high style of divine revelation to colloquial speech, lyrical interludes, and scornful diatribes against corrupt clergy.
This edition boasts several unique features. Durling's introduction explores the chief interpretive issues surrounding the Paradiso, including the nature of its allegories, the status in the poem of Dante's human body, and his relation to the mystical tradition. The notes at the end of each canto provide detailed commentary on historical, theological, and literary allusions, and unravel the obscurity and difficulties of Dante's ambitious style . An unusual feature is the inclusion of the text, translation, and commentary on one of Dante's chief models, the famous cosmological poem by Boethius that ends the third book of his Consolation of Philosophy.A substantial section of Additional Notes discusses myths, symbols, and themes that figure in all three cantiche of Dante's masterpiece.Finally, the volume includes a set of indexes that is unique in American editions, including Proper Names Discussed in the Notes (with thorough subheadings concerning related themes), Passages Cited in the Notes, and Words Discussed in the Notes, as well as an Index of Proper Names in the text and translation. Like the previous volumes, this final volume includes a rich series of illustrations by Robert Turner. ... Read more

Product Description
The "Divine Comedy" was entitled by Dante himself merely "Commedia," meaning a poetic composition in a style intermediate between the sustained nobility of tragedy, and the popular tone of elegy. The word had no dramatic implication at that time, though it did involve a happy ending. The poem is the narrative of a journey down through Hell, up the mountain of Purgatory, and through the revolving heavens into the presence of God. In this aspect it belongs to the two familiar medieval literary types of the Journey and the Vision. It is also an allegory, representing under the symbolism of the stages and experiences of the journey, the history of a human soul, painfully struggling from sin through purification to the Beatific Vision. Contained in this volume is the third part of the "Divine Comedy," the "Paradiso" or "Paradise," from the translation of Charles Eliot Norton. ... Read more

Customer Reviews (1)

Medieval vision of the afterlife
This was required reading for a graduate course in medieval history.
"The Divine Comedy" describes Dante's journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso), guided first by the Roman epic poet Virgil and then by Beatrice, the subject of his love and another of his works, "La Vita Nuova." While the vision of Hell, the Inferno, is vivid for modern readers, the theological niceties presented in the other books require a certain amount of patience and scholarship to understand.Purgatorio, the most lyrical and human of the three, also has the most poets in it; Paradiso, the most heavily theological, has the most beautiful and ecstatic mystic passages in which Dante tries to describe what he confesses he is unable to convey (e.g., when Dante looks into the face of God: "all'alta fantasia qui mancò possa" - "at this high moment, ability failed my capacity to describe," Paradiso, XXXIII, 142).

Dante wrote the Comedy in his regional dialect.By creating a poem of epic structure and philosophic purpose, he established that the Italian language was suitable for the highest sort of expression, and simultaneously established the Tuscan dialect as the standard for Italian. In French, Italian is nicknamed la langue de Dante.Publishing in the vernacular language marked Dante as one of the first (among others such as Geoffrey Chaucer and Giovanni Boccaccio) to break from standards of publishing in only Latin or Greek (the languages of Church and antiquity).This break allowed more literature to be published for a wider audience - setting the stage for greater levels of literacy in the future.

Readers often cannot understand how such a serious work may be called a "comedy".In Dante's time, all serious scholarly works were written in Latin (a tradition that would persist for several hundred years more, until the waning years of the Enlightenment) and works written in any other language were assumed to be comedic in nature.Furthermore, the word "comedy," in the classical sense, refers to works which reflect belief in an ordered universe, in which events not only tended towards a happy or "amusing" ending, but an ending influenced by a Providential will that orders all things to an ultimate good.By this meaning of the word, the progression of Dante's pilgrim from Hell to Paradise is the paradigmatic expression of comedy, since the work begins with the pilgrim's moral confusion and ends with the vision of God.

The Divine Comedy can be described simply as an allegory: Each canto, and the episodes therein, can contain many alternate meanings.Dante's allegory, however, is more complex, and, in explaining how to read the poem (see the "Letter to Can Grande della Scala"), he outlines other levels of meaning besides the allegory (the historical, the moral, the literal, and the anagogical).The structure of the poem, likewise, is quite complex, with mathematical and numerological patterns arching throughout the work, particularly threes and nines.The poem is often lauded for its particularly human qualities: Dante's skillful delineation of the characters he encounters in Hell, Purgatory, and Paradise; his bitter denunciations of Florentine and Italian politics; and his powerful poetic imagination.Dante's use of real characters, according to Dorothy Sayers in her introduction to her translation of "L'Inferno", allows Dante the freedom of not having to involve the reader in description, and allows him to "[make] room in his poem for the discussion of a great many subjects of the utmost importance, thus widening its range and increasing its variety."

Dante called the poem "Comedy" (the adjective "Divine" added later in the 16th century) because poems in the ancient world were classified as High ("Tragedy") or Low ("Comedy"). Low poems had happy endings and were of everyday or vulgar subjects, while High poems were for more serious matters. Dante was one of the first in the Middle Ages to write of a serious subject, the Redemption of man, in the low and vulgar Italian language and not the Latin language as one might expect for such a serious topic.

Paradiso
After an initial ascension (Canto I), Beatrice guides Dante through the nine spheres of Heaven. These are concentric and spherical, similar to Aristotelian and Ptolemaic cosmology.Dante admits that the vision of heaven he receives is the one that his human eyes permit him to see. Thus, the vision of heaven found in the Cantos is Dante's own personal vision, ambiguous in its true construction.The addition of a moral dimension means that a soul that has reached Paradise stops at the level applicable to it.Souls are allotted to the point of heaven that fits with their human ability to love God.Thus, there is a heavenly hierarchy. All parts of heaven are accessible to the heavenly soul.That is to say all experience God but there is a hierarchy in the sense that some souls are more spiritually developed than others.This is not determined by time or learning as such but by their proximity to God (how much they allow themselves to experience him above other things).It must be remembered in Dante's schema that all souls in Heaven are on some level always in contact with God.

Recommended reading for anyone interested in literature and medieval history.
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Product Description
This is The Divine Comedy - Paradiso by Dante Alighieri in it's original Italian with a line by line English Translation by Henry Wadsworth Longfellow. This edition has been carefully edited with an easy to use Table of Contents linking you to each Canto. Also included is a short synopsis at the end of each Canto. The original illustrations by Gustave Dore are inserted throughout. Because of the large amount of content, The Divine Comedy has been issued in 3 volumes. This is the third volumeParadiso - Paradise. All three volumes have been issued simultaneously so you can acquire the complete set.

This is a sample of the easy to read dual language format used in this issue. Dante wrote The Divine Comedy in 3 line stanzas with triple rime and this format has been maintained throughout.

1. Nel mezzo del cammin di nostra vita
1. Midway upon the journey of our life

2. mi ritrovai per una selva oscura
2. I found myself within a forest dark,

3. che' la diritta via era smarrita.
3. For the straightforward pathway had been lost.

4. Ahi quanto a dir qual era e` cosa dura
4. Ah me! how hard a thing it is to say

5. esta selva selvaggia e aspra e forte
5. What was this forest savage, rough, and stern,

6. che nel pensier rinova la paura!
6. Which in the very thought renews the fear.


7. Tant'e` amara che poco e` piu` morte;
7. So bitter is it, death is little more;

8. ma per trattar del ben ch'i' vi trovai,
8. But of the good to treat, which there I found,

9. diro` de l'altre cose ch'i' v'ho scorte.
9. Speak will I of the other things I saw there. ... Read more