Product Description
This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone! ... Read more

Customer Reviews (2)

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.

Inferno? Purgatorio?
A very poor offering. The print is essentially photocopies from Henry Wadsworth Longfellow's initial translation, with page marks and notations included, and in some places worn to the point of incomprehensibility.

The major issue, however, is that the book offered does not contain Inferno or Purgatorio! Despite the description here on Amazon and even the title on the cover, the entirety of the work is Paradiso. I can see why the publisher declined to allow viewers to 'look inside' before purchasing.

Needless to say, I'll be returning this and likely not buying anything from Kessinger Publishing again. ... Read more

Product Description
The Divine Comedy (Italian: La Divina Commedia) is an epic poem written by Dante Alighieri between 1308 and his death in 1321. It is widely considered the preeminent work of Italian literature, and is seen as one of the greatest works of world literature. The poem's imaginative and allegorical vision of the Christian afterlife is a culmination of the medieval world-view as it had developed in the Western Church. It helped establish the Tuscan dialect in which it is written as the Italian standard. It is divided into three parts, the Inferno, Purgatorio, and Paradiso.On the surface the poem describes Dante's travels through Hell, Purgatory, and Heaven; but at a deeper level it represents allegorically the soul's journey towards God. At this deeper level, Dante draws on medieval Christian theology and philosophy, especially the teachings of Thomas Aquinas. At the surface level, the poem is understood to be fictional. ... Read more

Customer Reviews (63)

Even if the book is not a "comedy" the reviews are hilarious!
I got on Amazon to see what had been said about the recent translations of the *The Divine Comedy," owning a copy of this translation and having read most of it. I am also aware of the status of this work in world literature, and have a lot of education in literature and have read quite a bit.Fortunately, my experience made the errors in the other "reviews" of the book quite clear. It would likely be helpful if reviewers had some basis for the things that they say on here before they say it.No, this book is not funny.It's not that kind of comedy.It's an older form of poetry so the meter is not what one would expect in a limerick.It would probably be a good idea if people read some commercial reviews of a book before they by it, and if people did not post customer service complaints as reviews.

A very poor printing and editing of the book.
Since this is a well known novel I won't review it. You may find a review somewhere else. This edition of the book is absolutely horrible. The text is not centered as you may expect from a book, making it impossible to read. I would recommend reading the book, just not this edition.

Dante as faithfully translated... the best available!
Dante is part of my "Life Curriculum," books that I read and reread throughout my years, inorder to establish a good basis for thinking and believing. They are supposed to help me live a "good" life, a moral and faithful life. This translation by Mendelbaum is exceptional. It adheres to the poetic spirit of the epic, as well as the intended meaning. In this edition, the notes at the back of the book are helpful in understanding the contemporary politics that Dante is often referring to, as well as little known personalities. This edition is a pleasure to hold in your hands, beautiful format and font. It also has copies of older artistic engravings that actually help in understanding the story. If you are looking for a one volume translation of Dante's Comedy, buy this one.

Cheaply made edition, many mistakes, poor quality
I am sorry I bought this: I wanted all three portions of the Comedy in one book.I got taken in by the slick cover design.When the book arrived it was cheaply made, and there is no introduction and no endnotes to the text.There isn't even anywhere that tells you who did the translation.These might seem like little things, but once you are reading and Dante starts mentioning the different Popes of the time, or different Italian noblemen by name, I personally need some footnotes to help me figure out who these people are and why he's talking about them.Some of the reviews here are of the content, which is of course a literary classic.This printing was cheaply done and isn't worth the price, even though it is pretty cheap.

WARNING
The book with ISBN 1449557848, The Divine Comedy: Inferno; Purgatorio; Paradiso --- with the red and black cover, and the flames --- is absolutely one of the strangest and worst books I have ever seen. Published by some outfit called "Classic Books International," it has an ANONYMOUS translation.Stranger than that, this anonymous translation seems to have been a verse translation but is printed here as PROSE -- but there's more!The initial letters of the verse lines have a Capital Letter which Has Been preserved, so reading the text is a little Bit like reading a ransom Note.There is no preface, no introduction.There are no notes.If I had to guess, I would guess that someone took a free text off the Web and did a slap-dash job of printing it out on paper.

The cover is very pretty, which reminds me of that old saying...

I just ordered the Mandelbaum translation from Amazon UK.This one is going in the trash.

---- Note ------

The Mandelbaum translation The Divine Comedy (Everyman's Library Classics) has arrived, and it is superb. ... Read more

Product Description
Belonging in the company of the works of Homer and Virgil, The Inferno is a moving human drama, a journey through the torment of Hell, an expression of the Middle Ages, and a protest against the ways in which men have thwarted the divine plan.

... Read more

Customer Reviews (77)

Reading with Tequila
My first reading of Dante's Inferno was in high school. I would have never made it through the story had it not been for a very good teacher holding my hand throughout.

The Inferno is an epic poem. Poetry isn't my thing to begin with. Epic just makes it more intimidating. Factor in that the poem is ancient and is translated from its original Italian and I want to run away screaming.

The story hidden inside the poem is what makes me admire the greatness of The Inferno. Let's face it, Hell is interesting. No matter what a story is about, setting it in Hell makes it something more. While the journey through Hell and the look at the specific people there and the tortures put upon them was impressive, the truly remarkable thing about The Inferno is the unexpectedness of it. You think you know Hell? You'll never guess what you'll come across in The Inferno. Having been written hundreds of years ago, the sheer fact that a reader in today's age can be surprised by what they find in this book is amazing.

I highly recommend reading The Inferno. I also recommend using the Cliff Notes while reading. Without that wonderful teacher explaining the harder to decipher parts, I would have missed out on the brilliance of this story.

fast and simple
Fast delivery and the book came in amazing condition. The price is perfect. I have heard this is a good book and i am glad to purchase it.

Dante
This book came in great condition; looked brand new. It came by the estimated arrival date so that's good. the description was accurate: clean, not torn, no highlighted text. Overall, great transaction.

the intellct of John Ciardi has been smeared
I had to stop reading this to write this quick review. The translation itself is truly remarkable. John Ciardi is a brilliant mind. However, whoever transferred the actual book to the kindle format did a painfully poor job. Horrific. The commas are periods and mispelled words have become mundane. I am not happy that I paid 5 dollars for this.

An annual read
The easiest, most informative, and fun version of INFERNO I've come across.I've only read a few others, but Ciardi's translation is not only easy to read and well-constructed, but the book is arranged so that a first-timer can understand without taking a class.

Each Canto begins with a short modern English paragraph explaining the major points that will take place in the Canto.After each Canto are several pages of endnotes which explain everything from arcane words to characters to history and are an interesting read in and of themselves.Additionally, simple and informative maps of Hell and Dante's journey are placed throughout for a visual guide.

Short of a version of this translation paired with Gustav Dore's etchings, I can't think of a better version of THE INFERNO. ... Read more

Product Description

Customer Reviews (1)

Great introduction to Dante
Robert Royal has managed to write a book which makes Dante's Divine Comedy not only more understandable for the average reader, but which makes you want to actually read Dante's classic.One of the chief reasons why this is such a good book is that Royal takes Dante's spiritual leanings seriously, unlike some commentators who see Dante as doing mostly political commentary.I recently used Royal's book as I embarked on teaching The Inferno to a high school student I was tutoring.It was an invaluable resource and made things clearer than the notes found in either edition of The Inferno we were using.I am now looking forward to finishing The Divine Comedy myself for the first time, inspired by Robert Royal.Thank you to the author for making this classic accessible for someone who doesn't read Italian, but who does share Dante's Catholic faith. ... Read more

Product Description
In this superb translation with an introduction and commentary by Allen Mandelbaum, all of Dante's vivid images--the earthly, sublime, intellectual, demonic, ecstatic--are rendered with marvelous clarity to read like the words of a poet born in our own age. ... Read more

Customer Reviews (18)

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.

Book To Read
The translation of the book from italian is great and reading it was amazing. The book was in perfect condition.

Dante is the king of hellfire....
This is an excellent translation of a classic, complete with illustrations.
By now you should know about the contents so I will simply say that this is the best version.

From Hell
"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.

Haven't rec'd the shippment, What's up with that?
The book was suposed to be a Christmas present.I've written about the order and no response.My credit card was billed for it.The book hasn't arrived and I can't seem to get answers.
What's up with this?

Sincerely,

Susie Gillespie ... Read more

Product Description
IN the midway of this our mortal life, I found me in a gloomy wood, astray Gone from the path direct: and e'en to tell It were no easy task, how savage wild That forest, how robust and rough its growth, Which to remember only, my dismay Renews, in bitterness not far from death. Yet to discourse of what there good befell. ... Read more

Customer Reviews (3)

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 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.

Fine for me
Despite the previous comment, I thought I'd have a go - appeared on my Kindle DX in a few seconds and readable immediately.

Kindle version sucks
When I opened this file, there were instructions on how to download it because it's so big. It said to download a zip file and create a directory on a PC. I didn't bother to do it because Kindle books should be Kindle-ready and easy to read, not something I need to download, extract, transfer, etc. ... Read more

Product Description
This vigorous translation of the poet's journey through the circles of hell re-creates for the modern reader the rich meanings that Dante's poem had for his contemporaries. Musa's introduction and commentaries on each of the cantos brilliantly illuminate the text.

Translated with Notes and an Introduction by Mark Musa ... Read more

Customer Reviews (33)

Don't buy the Kindle edition!
After reading many favourable reviews about this translation of Dante's Inferno, including reference to the notes and glossary, I decided to buy the Kindle edition of this book. One other thing that made me buy it was that, in the description of the book, it says that this is a bilingual edition. Once I had paid for and download the book I realised this is ONLY the translation of the verses. There are no notes, glossaries or Italian text. I felt cheated and robbed.

The Divne Comedy
I chose this translation because the translator had an Italian name, but found it unsatisfactory. It doesn't have the tone of the original. Unfortunately, I haven't found a translation that does.

Review of this edition
I am incredibly impressed with this rendition of Dante.The author abandons rhyme but writes the work in variations of iambic pentameter.This preserves the dramatic/poetic elements of the work without the rhyme-forced word choice so often associated with the other editions available.The commentary and background notes are excellent.All around, this is my favorite edition of Dante.Incredibly, it bears reading aloud, which many of the rhymed editions do not.

This is NOT MUSA's translation
Note,

This is Longfellow's translation, as it says at the title of this item, NOT MUSA's, which is the translation reviewed. I have nothing against Longfellow's translation, but I alredy bought that in Kindle version, and I was interested to see how Kindle would deal with Musa's side by side translation. So, now I know. It doesn't. It isn't musa, this is a false, misleading, mistaken set of reviews.

The best translation of Dante's Commedia
This translation is faithful and modern at the same time. I know Italian and have read the italian poem, but I am also interested in translation, and have found that Musa's work is far superior to others. He explains his criteria in the translator's note: use of modern words, exclusion of rhyme and fidelity to the semantic content. Solutions like the verse: "And, everywhere I looked, the beast was there" (Inf. I, 34) which translates "e non mi si partia dinanzi al volto" fascinate me. This is a search for clarity and fidelity at the same time, dealing with a language that does not simplify things for a translator.
Very recommendable. ... Read more

Product Description
His glory, by whose might all things are mov'd, Pierces the universe, and in one part Sheds more resplendence, elsewhere less. In heav'n, That largeliest of his light partakes, was I, Witness of things, which to relate again Surpasseth power of him who comes from thence; For that, so near approaching its desire Our intellect is to such depth absorb'd, That memory cannot follow. Nathless all, That in my thoughts I of that sacred realm Could store, shall now be matter of my song.
... 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
Unlike every known translator before him, Michael Palma re-creates Dante's masterpiece in all its dimensions, without emphasizing some aspects over others, rendering Inferno into contemporary American English while maintaining Dante's original triple rhyme scheme. The result is a translation that can be appreciated for its literal faithfulness and beautiful poetic form, accompanied by facing-page Italian and explanatory notes. ... Read more

Customer Reviews (3)

Most enjoyable translation of Dante that I have read.
I have read several previous translations of the Inferno since high school, all of which have ranged unintelligible to passable.Most of the translations I have read previously were so literal in translation that it was like reading Shakespearean English, this translation, while not perfect was so readable that I was amazed. The Palma translations attempts to maintain the original prose, but what sets him apart is his willingness to abandon the rhyming structure at certain points in order to maintain the flow of the story.

Palma is the first translator that does justice to the Divine Comedy, if you are looking for a readable, enjoyable translation of Dante look no further.

Afternoon light like pollen../but what woke just now at 52..
I beleve that this translation captures phrases in a poetic diction, that at moments is deeply felt.I admit the voice is very tough, and feels very cold.But this is a really good effect.Since we are gliding in a diction that is Triple Rythme, the voice is very tough and lean.This version alongside Robert Pinsky's Translation, are in my opinion two Wonderful Poems in english.I like Palma's, in that it has so many noble phrases that capture nuances of sharpness and vividness.Some times the phrases are even absoultely touching.
The Inferno is my favorite part of the comedy, it's the only part that has repeated interest.I think purgatorio, is fine to read for the first time, but overall, too much of the 2nd canticle is filled with iron to chew on.Their is some gold to taste, but not nearly enough to keep your interest on repeated hearings.Too Much of the 3rd canticle is just so flimsy and loose, it's very solemn, dry and is itching for action.The only Dante that in my opinion is of true worth is, INFERNO.AND Overall, I still ENJOY Pinsky's verse translation more.The wording he uses is softer, more smoother in the line.Palma's work is still though, a true poem in english.I love it.I beleve that it will take a long time before this translation reaches the public.Since that Michael Palma is a poet who is not as nearly known as Robert Pinsky, nor does he have a distinguished title as maybe Robert Hollander. I would not recomend that you by any other translation than Robert Pinsky's " The Inferno of Dante" or Micheal Palma's new verse translation of "INFERNO".aS MENTioned earlier these our the Pinnacles, because No1, they are poetic, which is refreshing if you've read the boring compacted "Hollander's", or the boring sholastic blank verse of "Mandelbaum".The other translations which are good but not wonderful, like pinsky or palma, would be the Noble blank verse done by Mark Musa, his is very very fine, and has a balance of intelligence coupled with some elegant poetry.Elio Zappula, has done also a blank verse or Iambic Pentameter rendering of the Inferno, and his has a very interesting diction, that once again has a good balance of poetry in it.

A compulsively readable translation.
Having explored many translations of Dante's Inferno, I found Palma's translation a revelation.I have read those by Mandelbaum, Sinclair, Singleton, Sayers, Anderson, Ciardi, Pinsky, Zapulla and Musa.Although all of them have things in their favor, none of these versions captured me the way that Palma's has. His ability to incorporate Dante's 'terza rima' (triple rhyme scheme - aba bcb cdc, etc.) into his faithful translation, along with a natural, unforced American English syntax, seems to capture some of what Dante might have had in mind. As a reader I was swept along by the language, from tercet to tercet, the rhyme scheme and poetic language providing a powerful driving force that connected the verses within each canto.The Publisher's Weekly review of the hardbound edition took Palma to task for "some puzzling, clunky passages." Well, yes, but the powerful momentum and overall readability provided by the terza rima more than compensates for the occasional "poetic" word order demanded by the rhymes - Palma's introductory essay accurately points out that Dante's Italian has plenty of its own puzzling, clunky passages.I have appreciated Allen Mandelbaum's scholarly blank verse translation for providing an accurate and poetic sense of Dante's meaning - I still use it when I wish to check the appropriateness of a particular translation - but reading it always felt like work. In another recent translation, Pinsky incorporated consonant-driven rhymes (a la Yeats) to simulate terza rima, and though his translation is elegant, it didn't grab me as did Palma's. (And, I admit to being vaguely, and perhaps unreasonably, disturbed by Pinsky's compression of Dantean tercets into smaller numbers of lines.)In comparison, once I started Palma's translation, I couldn't stop reading. Having finished the first reading, I read it again. And then again. This has never happened to me before. It still is on my bedside table, and I dip into it often. It is a joy to read aloud. I appreciate the facing Italian text - it is enjoyable to sound out the Italian for comparison with the English, even if one doesn't read Italian. I'd love to see Palma do the rest of the Divine Comedy - this translation deserves wide respect and readership. ... Read more

Product Description
Guided by the poet Virgil, Dante plunges to the very depths of Hell and embarks on his arduous journey towards God. Together they descend through the nine circles of the underworld and encounter the tormented souls of the damned - from heretics and pagans to gluttons, criminals and seducers - who tell of their sad fates and predict events still to come in Dante's life. In this first part of his "Divine Comedy", Dante fused satire and humour with intellect and soaring passion to create an immortal Christian allegory of mankind's search for self-knowledge and spiritual enlightenment. ... Read more

Customer Reviews (12)

A must for every bookshelf
You can't read serious literature if you have not read this book. The translation is a particularly accessible one.

Dante's Hell
The book was purchased for a school assignment of my oldest daughter.The book was in perfect shape delivered on time.My daughter was not a real fan of the book but it met the need and she got perfect score on the report she wrote on it.

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 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.

Good, but not the best
The greatest strength of Dorothy Sayers's translation of The Divine Comedy is its notes. Sayers considered this translation her finest work and spent years of her life on it, though she died before she could complete Paradise. Having read The Comedy dozens of times myself, along with many books on Dante and his work, I liked Sayers for her dedication, but her translation--and even her notes--has some problems.

The biggest flaw of the translation is that it's just not literal enough, due mainly to Sayers's attempt at rhyming. Dante invented terza rima ("threefold rhyme") for his Comedy, and trying to use the same rhyme in English is a noble effort but ultimately hopeless. She frequently strays from the original or, worse, obscures something very clear in the original so that she can fit the lines into her rhyme scheme. Her English is also littered all over with strange syntax and archaic words, some of which worked while others left me scratching my head and, in at least one case, laughing out loud.

But for all that, her translation is entertaining and still allows Dante to speak, if through an imperfect medium. There were some sections in which the wording and rhyme worked so well I was thrilled as I read it--most of the work, however, is not up to that standard.

As I said at the beginning, though, this translation's greatest strength is its notes. Sayers shows years of dedicated study in the introduction, notes, and appendices she prepared for this work. One of the most helpful parts of her work are the breakdowns of difficult sections, which she analyzes in the four levels of interpretation at which Dante wrote. These sections are very good and offered even a seasoned reader of Dante like me something to sink my teeth into.

Some of her notes are misguided or flawed, but the book is still worthwhile to the new student of Dante for the wealth of good information they contain. I give one star for the translation and three for the notes.

If the notes are not what you're after and you want to read something more literal the first time around, check out the Mark Musa translation, also available from Penguin Classics, or that of Anthony Esolen from the Modern Library.

Recommended.

Golden Oldies
First of all, a warning: the "Comedy" is a complex work, and we are constantly updating our understanding of it. However, once one has finished whatever annotated and/or translated version is currently at the apex of knowledge, it is well worth going back to Sayers. I would dare to say that this is one of the classic translations, one of the best from that phase of Dante studies (for example, though she is obviously tempted towards a Freudian reading, she actually tries to resist its more absurd results). Its funny how many Danteans still do not get beyond the Inferno... ... Read more

Product Description
Dante's political thought has long constituted a major area of interest for Dante studies. Yet there has been a tendency for the poet's views on matters of politics to be seen by critics as a self-contained, discrete area for study.This edition of four political letters examines the extent to which they can be said to contain the seeds of the political poetry of the Commedia, and to look again at the ways in which the author transforms the Latin political rhetoric of the letters into the Italian poetic language of his vernacular masterpiece.Table of Contents:1. Introduction: 'Rome once had two suns' 2. The Letter to the Princes and Peoples of Italy (Epistola V)3. The Letter to the Florentines (Epistola VI)4. The Letter to the Emperor Henry VII (Epistola VII)5. The Letter to the ItalianDr Claire Honess is a Senior Lecturer in the Italian Department at the University of Leeds. ... Read more

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Astounded, to the guardian of my steps I turn'd me, like the chill, who always runs Thither for succour, where he trusteth most, And she was like the mother, who her son Beholding pale and breathless, with her voice Soothes him, and he is cheer'd; for thus she spake, Soothing me:
... 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

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In The Purgatorio, Dante describes his journey to the renunciation of sin, accepting his suffering in preparation for his coming into the presence of God. This brilliant translation of Dante's canticle crystallizes the great poet's immortal conception of the aspiring soul.

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Customer Reviews (1)

A stint in Purgatorio
"For better waters now the little bark/of my indwelling powers raises her sails/and leaves behind that sea so cruel and dark..."

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 ("Yours am I, sacred Muses! To you I pray/Here let dead poetry rise once more to life/and here let sweet Calliope rise and play") 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. ... Read more

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FROM the first circle I descended thus Down to the second, which, a lesser space Embracing, so much more of grief contains Provoking bitter moans. There, Minos stands Grinning with ghastly feature: he, of all Who enter, strict examining the crimes.
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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
In The Paradiso, Dante explores the goal of human striving: the merging of individual destiny with universal order. One of the towering creations of world literature, this epic discovery of truth is a work of mystical intensity- an immortal hymn to God, Nature, Eternity, and Love.

... Read more

Customer Reviews (8)

In Paradiso
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,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.

John Ciardi has the best Dante translation to date.
I truly enjoy reading the classics. However some classics must be translated. Some translations loose meaning since you can not translate word for word. Only the meanings can be translated and with the evolving English language sometimes words can have skewed definitions. John Ciardi is the best Dante translator I have read. Signet has done a good job at this price point. The Devine comedy is a book set that will expand your understanding on many uncannonized ideas. The Inferno (Signet Classics)The Paradiso (Signet Classics)The Purgatorio (Signet Classics)

The Best Intro to Heaven
Translators, according to the Italian proverb are traitors.
There is no way around it, something is always lost in the
leap from one language to another. You can consult a modern
'adaptation' of Shakespeare to get the feel of what has to
be surrendered.

John Ciardi decided to keep the original rhyme scheme: 'aba'
in which the poem is divided into groups of three lines of
which the first and third rhyme. In Italian, this is fairly
easy, in English a great deal more difficult.
So in order to keep the feel of the tercets (as they're called)
Ciardi sometimes had to stray a bit from the literal
meaning. Nothing vital is lost, but the specialist will
surely find some points to dispute.
For the rest of us, this is a first-rate view into a world
we can barely otherwise imagine. Ciardi's notes and glosses
on the cantos are breezy, illuminating and approachable.

There are other, more correct translations- Mandelbaum's
is first among them -that might be better for the specialist
or the student of the Italian Language. I notice, however,
that when I want to spend a pleasant few moments in the
Poet's company that this is the translation I usually reach
for.

--Lynn Hoffman, author of New Short Course in Wine,Theand
bang BANG: A Novel ISBN 9781601640005

Union with the Divine
Dante travels through the heavens growing ever closer to the source of all things, God. He learns a host of things from the spirits there who want to give nothing but love to Dante, to God, and to adore God. It is their pleasure to help Dante. For example, towards the end of the poem he learns about Adam and how long he abided in the Garden (the one from the end of Purgatorio and from which they begin their last journey in the Paradiso).

In order to experience some of the things in the heavens Dante needs to go way beyond normal human perception. The experience of heaven is so great that apparently all that he relates to us about it is but a shadow of how he saw it. It's experience is stamped forever on his heart, but Dante says its detail dissipates. I think of it like when you have a dream that you remember always, but the details do not necessarily stick in your mind though it is imprinted there nevertheless.

To me Dante seems to have guided his audience on a mystic journey. Whether he was a mystic or not I'm not clear on, but like other poets he reveals to us the truth of things.

[STANDING OVATION]
Travel to the most light-forbidden spot on Earth.

Wait for night to fall. . .

Look up at the sky. . .

and count the stars.

That's how many stars I'd give John Ciardi's wonderful translation of Dante's Paradiso (indeed, the whole trilogy, but especially this)!

When reading this book it's almost impossible I'd say to not feel the same sense of awe as Dante does as he beholds the splendors of Heaven. This book makes you feel uplifted, upbeat, almost as if you're being catapulted through the Heavens right alongside Dante himself.

Of course, to get the full effect from reading this book you have to understand most of what goes on. And that is where the John Ciardi translation really shines. Just as Beatrice is Dante's guide, so is John Ciardi your guide through Heaven.

The Divine Comedy was written in the 1300's and how many people can honestly say that they understand Italian politics and history from that time period? Maybe Umberto Eco does (of "The Name of the Rose" fame), but that's a huge minority. But fear not, for every Canto opens with a short summary of what is about to be revealed next to Dante. One need not worry about this summary spoiling the story, either, as there really are no plot twists in The Paradiso. Although I have to admit that the last scene involving Dante and Beatrice was a bit shocking (to Dante, too) and even managed to form a few tears in my eyes.

After the summary there is the Canto itself and what I like most about this is how everything rhymes (ABA ABA, etc.) and still is rather easy to read. This text is uninterrupted, which is great if you happen to be an advanced reader of Dante and don't want to stumble into little numbers next to words referring you to footnotes all the time.

Again though, not many of us can say we're "Advanced readers of Dante", so for those of us in that crowd each Canto is finished with a healthy amount of footnotes that do an excellent job of explaining the politics and history in simple terms. You very well might still finish the Canto not understanding everything 100%, but you'll be much better off than if you tried to understand everything on your own. Think of it as Cliff's Notes already built into the book itself. Wonderful idea!

If you're still wondering if you should read this book, don't.

Trust me.

Everything is better in Paradise. ... Read more

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Customer Reviews (17)

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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. 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.

soso
The translation is still very old speak. Hard to understand and follow the story line.

even better than it looked
I gotta say, I was blown away by the quality of this book. I was looking for something basic, and was very pleasantly surprised when I unwrapped this beautifull version of the book. Highly recommended.

Just what I was looking for
The product was delivered in perfect condition and just as described by the seller. I would buy from this seller again. ... Read more