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"AH me! O Satan! Satan!" loud exclaim'd Plutus, in accent hoarse of wild alarm: And the kind sage, whom no event surpris'd, To comfort me thus spake: "Let not thy fear Harm thee, for power in him, be sure, is none To hinder down this rock thy safe descent." Then to that sworn lip turning, "Peace!" he cried, ... Read more

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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.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

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Indulge Yourself with the best classic literature on Your PDA. Navigate easily to any novel from Table of Contents or search for the words or phrases. Author's biography and stories in the trial version.

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This is the edition to own
Works of Dante Alighieri. Includes The Divine Comedy in three translations (with one version illustrated by Gustave Dore). Also includes The Banquet. Published by MobileReference (mobi)

The Divine Comedy is one of the greatest epic poems that influenced literature immensely. It also has made a huge impact on popular culture. If you read the ebook, you will have an excellent foundation for understanding literature and popular culture. The Divine Comedy is a single work; it makes sense to have all 3 parts in one ebook, which this edition does. It also includes Gustave Dore's brilliant illustrations. Great ebook. Five stars!

The Best There Ever Was
Works of Dante Alighieri. Includes The Divine Comedy in three translations (with one version illustrated by Gustave Dore). Also includes The Banquet. Published by MobileReference (mobi)

An outstanding electronic edition! The illustrations are much cleaner than in the mass-market paperback edition. I am so glad I got this ebook! ... Read more

Product Description
This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery. ... 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

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True love, that ever shows itself as clear In kindness, as loose appetite in wrong, Silenced that lyre harmonious, and still'd The sacred chords, that are by heav'n's right hand Unwound and tighten'd, flow to righteous prayers Should they not hearken, who, to give me will For praying, in accordance thus were mute? He hath in sooth good cause for endless grief, Who, for the love of thing that lasteth not, Despoils himself forever of that love. ... 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 book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery. ... 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.
... Read more

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COULD I command rough rhimes and hoarse, to suit That hole of sorrow, o'er which ev'ry rock His firm abutment rears, then might the vein Of fancy rise full springing: but not mine Such measures, and with falt'ring awe I touch The mighty theme; for to describe the depth Of all the universe, is no emprize To jest with, and demands a tongue not us'd To infant babbling.
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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.

Worth the price...
Most of the text is technically there. I downloaded it and was disappointed; many lines are cut off and there are large gaps in the text for no apparent reason. If you're desperate for Paradise Lost, I suppose it's worth it, but I think I will just delete these. If they weren't free, I'd complain, but you get what you pay for :D ... Read more

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O'er better waves to speed her rapid course The light bark of my genius lifts the sail, Well pleas'd to leave so cruel sea behind; And of that second region will I sing, In which the human spirit from sinful blot Is purg'd, and for ascent to Heaven prepares. ... 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.

Easy to read on Kindle
I would not presume to write a review on Dante.Dante is Dante.But, as this was my first experience with Kindle, I can speak to that.I did miss holding a printed book in my lap, but I was pleasently suprised how easy is was to adjust to the new way of reading a book.And, of course, it was free. ... Read more

Product Description
The second part and the radiant climax to Dante's awe-inspiring epic, in a definitive new translation

Having plunged to the utmost depths of Hell and climbed Mount Purgatory in the first two parts of The Divine Comedy, Dante now ascends to Heaven, guided by his beloved Beatrice, to continue his search for God. As he progresses through the spheres of Paradise, he grows ever closer to experiencing divine love in the overwhelming presence of the deity. Examining eternal questions of faith, desire, and enlightenment, Dante exercised all of his learning and wit, wrath and tenderness in his creation of one of the greatest of all Christian allegories. ... Read more

Customer Reviews (1)

Incredible Footnotes to this classic
Kirkpatrick (referred to as K. here) is an incredible tour de force in this translation to the Paradiso.Amazon allows you to preview the translation, and if that passes your muster, you will be richly rewarded by a treasure of knowledge on Dante and the Paradiso.K. tends to be a literalist concerning the meter, thus this meter always sounds like the original.That of course sometimes makes you blink, but thenthe original Paradiso would do the same; the difference here is that K. is helping you along with notes and comments to explain it along.I personally found two readings of the book valuable; the first with K.'s notes and the second without.

If you'd like a looser translation, Hollander & Hollander's translation fills that bill, but I'd still get this version if just for K's insight. ... Read more

Product Description
The present fray had turn'd my thoughts to muse Upon old Aesop's fable, where he told What fate unto the mouse and frog befell. For language hath not sounds more like in sense, Than are these chances, if the origin And end of each be heedfully compar'd. And as one thought bursts from another forth, So afterward from that another sprang, Which added doubly to my former fear.
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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
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 (6)

Prose translations are best
As Dante accepted Virgil's offer to be his guide, please consider letting me be your guide for a moment on the subject of reading Dante's "Divine Comedy."In honor of Dante's work, I will denominate my suggestions as cantos.

Canto 1.Any prose translation is better than any verse translation.To create verse in English out of Dante's Italian verse always results in text that is, I think, too inaccurate and too difficult.

Canto 2.Read all three parts of the "Divine Comedy."Reading only "Inferno" is like seeing only the first third of Shakespeare's "The Tempest," or reading only the first third of Dostoevsky's "Crime and Punishment," or watching only the first third of the film "Casablanca."Dante's "Divine Comedy" has a happy ending, but you won't see it if you don't read all three parts.Dante never, ever, ever, ever imagined that people would read only "Inferno."

Canto 3.Take Professor Robert Hollander's advice, and read Dante's "Divine Comedy straight through while sitting under a tree, without consulting footnotes at all.True, you won't understand every thing.But do you understand in a Shakespeare play the first time you see it?

A Beautiful Translation and Informative Endnotes
Dante's _Inferno_ is truly one of the most fascinating and riveting epic poems of all time.This edition of the _Inferno_, translated by Durling Martinez, is wonderful, jam-packed with all sorts of extras that lend itself to study and careful examination.The Italian verse and English prose translation mirror each other on each page and Martinez's translation is extremely user-friendly, allowing the reader to get caught up in the emotion of Dante's powerful masterpiece without trying to observe the strict meter requirements of the original.

In addition to the Italian text, Martinez provides copious amounts of end notes to each Canto.The only shame is that they are presented as end notes and not as footnotes, forcing the reader to thumb back and forth frequently while reading.Many of them are so interesting and helpful that it would have been useful to be able to access them with more ease.That being said, however, once you see the size and length of the end notes, you will understand while they have been given their own section.

On top of all of the end notes, providing the historical and literary context for all of Dante's allusions, this edition also include illustrations, including one showing the organization of Hell, and sixteen short essays that focus on various aspects of the _Inferno_.At over 650 pages long, this edition is a serious one and is best used for serious study rather than a book to shove in your pocket for pleasure reading.But if you desire to delve into the _Inferno_, this edition is fantastic for its amount of scholarship and user-friendliness.I highly recommend this edition for any fan of Dante and anyone approaching the _Inferno_ for the first time.

great translation, great notes
The Durling-Martinez edition is the one used in my college Dante class. Together with their translation of Purgatorio (their edition of Paradiso apparently still in progress), the two works have great endnotes for every canto of the poem, good appendices and Purgatorio has a series of 'intercantica' notes which refer the reader to all the parallels between the two works, so you don't have to remember that the Gates of Hell and the Gates of Purgatory are found in Canto 9 of their respective works.

I wrote this review because the top reviews for this edition were all in fact for other editions, and this one definately deserves its due. It may be more expensive than Mandelbaum's paperback, but its worth it. The print is larger, the language clearer, the notes more useful. Try it out.

An Unique Perspective of Christian Hell
The Inferno of Dante Algihieri is part of a larger work known as the Divine Comedy, a set of three poems in which Dante describes his spiritual journey through Hell, Purgatory, and Heaven.Inferno is the first part of the trilogy; in it, Dante describes his journey through Hell, escorted by the ancient Roman poet Virgil.Hell, as Dante portrays it, is divided into nine concentric circles, each one smaller and lower than the previous, and therefore forming a funnel-like shape.In each circle, the souls of persons who have committed or lived a life of a certain sin, such as gluttony, avariciousness, or fraud, are condemned to some form of eternal punishment.For example, heretics are forever entombed in burning tombs.These nine circles are further divided into three categories: incontinence, violence, and fraud.
Perhaps Inferno, and the Divine Comedy in general, has its greatest value in Dante's literary mastery.Dante's wording and use of various literary devices make the poetry of Inferno nothing short of magnificent.I am not able to read the original Italian it was written in, but for those advanced readers the original text is provided opposite each page.Furthermore, the translation by Robert Durling, used in this edition of Inferno, does its best to retain the poetic beauty for which the Divine Comedy was so famous.Unlike many other versions, there is no attempt to rhyme the lines in English, nor does Durling try to match his own literary skill to Dante's.Instead, the book is a modern prose translation; for the most part, there is a very simple vocabulary used throughout.The lines, however, are not rearranged into a more easily comprehensible form.For many readers, this may prove a slight problem, yet, after a few chapters, the flow of the poem becomes more easily understandable.
As for the piece itself, many have claimed it to be a depressing, dark tale of Dante's trip to hell, relating it more to the horror genre than any other.On the contrary, the message Dante means to convey in the poem is much more than simply terror and dismay.I, however, find Inferno's importance in its spiritual message, for Dante gives a unique perspective of sin.Unlike the traditional Christian image of sin, Dante portrays it as more of an intellectual transgression against self, fellow man, or God rather than simply a violation of traditional moral values.The punishments are considerably brutal, but Dante only uses suffering as more of a literary device than to define the gruesome details of Hell, since the punishment is usually meant to reflect the horrors of a particular sin.The book also has a deep rooting in politics, for Dante was heavily involved in the political strife between the pro-Papal and pro-Emperor parties in Italy.Therefore, a somewhat basic background knowledge of Italian Renaissance history is needed to understand some parts of the book.
Those familiar with classical mythology may find many surprises when reading the story.The evidence of Greek and Roman influence are many, yet Dante does little to keep in line with the traditional characters.Plutus, for instance, is found as a raving, dumb guardian of the circle of the avaricious.Nevertheless, Dante's variations do little to subtract from the meaning or flow of the poem, rather it only serves to enhance its eccentricity.It is obvious throughout the story that Dante cares little of keeping his image of Hell similar to conventional Western stories.For example, the center of Hell is not brutally hot and aflame, but a frozen pit of ice.Satan himself is not a quick-witted, agile devil as is the traditional image of him is, yet a humongous beast resembling more the intellect of a robot than of a man.The symbolism of these differences is quite clear: Dante has decided to redefine the Christian belief of sin and has therefore redefined the classical/Christian image of Hell.
In short, few stories survive the test of time, however, Inferno certainly deserves its 700-year history.It is a divine dissertation on a different perspective of sin embodied in the tale of a journey through Hell.For those who enjoy literary depth and meaning, every line in Inferno could be argued to contain some type of symbolism.By combining ancient Greek mythology with Christian dogma, Dante has created a fascinating depiction of one of the tenets of religious doctrine since the times of antiquity, yet not conforming to any traditional image of Hell.Needless to say, the Inferno of Dante Algihieri is a unique story written in absolutely magnificent poetic form, setting the precedent for narrational poetry in the modern era.What is more, Robert Durling does a terrific job at keeping Dante's literary genius intact while providing sufficient notes and background reading to provide the reader with their own interpretation, void of any self-bias.Despite the difficult reading, I would recommend this book to any who wish to expand their spiritual and historical knowledge.

An Engrossing and Interesting Translation
I began reading this book for a high school class, and did not finish it prior to the due date. However, this book so enthralled me that I simply had to keep reading it through the finish. Robert M. Durling & Co.'s notes proved to be very helpful in understanding the worldview with which Dante was writing. If there was ever a movie I would want to see, the Inferno would be it. I should note that I was so involved in the book that I became obsessed with death for the duration, listening to music such as Mozart's Requiem and more. I thus highly reccommend it, but discourage it for those individuals that are easily depressed. ... Read more

Product Description
This single volume, blank verse translation of The Divine Comedy includes an introduction, maps of Dante's Italy, Hell, Purgatory, Geocentric Universe, and political panorama of the thirteenth and early fourteenth century, diagrams and notes providing the reader with invaluable guidance. Described as the "fifth gospel" because of its evangelical purpose, this spiritual autobiography creates a world in which reason and faith have transformed moral and social chaos into order.It is one of the most important works in the literature of Western Europe and is considered the greatest poem of the European Middle Ages. ... Read more

Customer Reviews (114)

The Devine Comedy.....(all three segments)
Read and studied this classic in college...and wanted a copy to refresh my thinking!...and have, glad I did!

DVD or Cassette?????
Good audio but I had to find a cassette player for this to work.Who would have thought people were still selling cassette's?? That's what I get for going low cost.
No I wasn't real happy. Discription said audio book, maybe I should of asked some questions first.

Excellent, readable translation for first-time readers
This is a review of the translation and edition, not of the Commedia itself, which would be ludicrous. Read reviews of every translation available on Amazon.com, and you'll find rave reviews as well as tirades. My approach is to recommend different versions for different stages of Dante appreciation. To my mind, your first translation should satisfy the following: 1. It must be, above all, readable. Obscure words (other than historical/mythological characters) and twisted syntax will throw up a roadblock in the very first canto. 2. It should give some sense of the poetry of the original. 3. It had better convey the emotion of the original. 4. The notes should aid, not overwhelm, the curious reader.

Mr. Ciardi's translation treads a marvelous balance among these directives. Literalists will lament Ciardi's word choice and will assert inappropriate meaning changes. Purists will assail the abandonment of terza rima. (Ciardi's compromise rhyming scheme, as recounted in his introduction, is that of a practicing English-language poet.) The notes are enough - with just that little extra - to make a first reading interesting and comprehensible. (Mark Musa's notes to his translation are too detailed for a first go-around, though Ciardi's get a bit much, too, in the last two canticles.) And the reader feels the emotions of Dante the pilgrim as well as those shades he meets along the way.

For a deeper reading, I suggest going on to Charles Singleton's Text and Commentary volumes for each canticle. These literal prose translations and notes will ensure you don't miss very much the second time around. And if you have some Italian, or any other romance language for that matter, you can follow along on the opposite page.

If you want more than that, you can try a terza rima version like Pinsky's Inferno, or other poetic efforts like Longfellow's or Dorothy Sayers'. Most versifications sacrifice clarity and readability to shoehorn the text into Dante's rhyming or metrical scheme, and I'd tackle them only after getting a good handle on the Commedia.

Finally, a word about the edition. The text has been reset into very clear, sharp type, and the original illustrations are much cleaner than in the mass-market paperback edition. The page layout is relaxed, and the look is a joy to my fiftyish eyes. It is printed on alkaline paper and will probably age better than I am managing to do. And the book lies flat when open. An index to characters, locations, and allusions is all that's missing. Buon viaggio!

Addendum: Amazon has evidently posted this review on some listings of Divine Comedy translations other than John Ciardi's. My review does not apply to these. It refers only to ISBN 0451208633.

Ciardi-- Divine Comedy
Superb, Ample prefatory notes for each Canto supplemented by explanatory end notes which fill in the historical content.

Too difficult to read
I guess I was too naïve to think that I would be able to read this book. But the language used is very difficult to follow and I abandoned the book on the first pages. ... 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 (8)

Durling's trans is great: beware the current Kindle rendition
Some day, soon I hope, the providers of e-texts will begin to respect the wonderful books they deliver to us. Poetry is often disgracefully rendered. This exceptional 5-star translation by Robert Durling (I have the print version) is now an e-text dump, not an e-book. My Kindle can make no sense of a facing page translation with notes. What a shame. I would love to have this on my reader. Be sure to try the sample first. I look forward to a corrected version.

Great Translation
This is one of the best traslations of the Inferno that i have been able to find.It is easy to understand and certainly not convoluted as many other versions are.In addition this version offers the italian text which is a nice addition.Finally, the notes and commentary povided in this book are amazing and perfect for use in the classroom or just6 for general enjoyment.

Dante's Inferno: Reprint Series
I found this edition of Dante's most famous book of the Divine Comedy to be excellent in all respects.The translation seemed excedingly accurate -- as an Italian prof. I was working almost exclusively from the original -- in a modern, clean style.Here the attempt is not to replicate the hendecasyllabic verse or the "third rhyming" ("terza rima").
More successful still are the notes that follow each canto, replete with explications of historical and theological references or simply of difficult lines.Not to be discounted too is the introduction which admits to not being exhaustive but is powerfully pithy and a nice springboard from which to attack the text.
Dr. Joseph A. DiLuzio

Dante's Inferno
I absolutely love this book! The English translations and the notes at the end of each Canto are incredibly helpful.

Best of the Series
Volume 1: Inferno is the best title of Dante's Divine Comedy.He presents a great look into the history of renaissance Italy around the 14th century.Robert M. Durling translates the old Italian in a simplistic yet powerful manner which allows anyone familiar with the language to understand.There are excellent notes at the end of every chapter to help reiterate the points and what they meant in that era.Also, keep a bible handy because several references come directly from the old text. ... Read more

Product Description

Customer Reviews (6)

Exactly what I was looking for:
I wanted a copy of Dante's Inferno with the original Longfellow translation - and here it is! The translation is smooth, the book is great and it even has footnotes and endnotes to help understand some of the historical/theological/mythical background. Great book!

Divinely nasty
"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.

Great Hardcover of a Classic
There's not much to say. It's a great hardcover edition of a must-read for just about everyone out there.

It would be nice to have a single hardcover edition of the entire trilogy, but this will suffice and is definitely the only true "must-read" of the trio.

Sets the bar high for future B&N Classics
I ended up reading this book twice. The first time, I read straight through the poem and was thoroughly unimpressed. The story, as Longfellow himself says, is "tedious" and self-congratulatory and mostly a platform for attacking his enemies. It isn't really great reading.

So what made me read it a second time? This time, Barnes & Noble seems to have found the right person to write the introduction and put together endnotes and discussion notes. The second time through, I read the poem along with each endnote, and my appreciation of the book was dramatically better.

Without the background as presented in the introduction and endnotes, the story is hobbled from the outset. You simply can't understand the story and what Dante is trying to say without a clear understanding of the history and circumstances in which he wrote it. Who are these people in Hell? Why is Hell shaped the way it is? What is the meaning of each character in Hell? The endnotes answer all these questions, and make the story interesting.

The follow-on discussion notes pose an interesting question. Can a reader read and enjoy The Inferno as a book and story, rather than as "literature"? The answer, based on the story alone is a resounding no. However, this edition by Barnes & Noble Classics turns that right around and proves that with the right supporting material, even a "tedious" book like this can be made enjoyable.

5 stars for the excellent B&N addition, but -1 for the story itself.

The best version of Inferno for the money
As I would never attempt to actually review Dante's Inferno, I am only going to review this version in comparison to others.

Of all of the different translations, the translation by Longfellow (which this is) seems to be more accessible then the tedious Mandelbaum version. That's not to say that it in any way dumbed down, it is simply more readable then the other translations that I have sat down in front of.

The illustrations by Gustave Dore are the standard and should never be replaced by anything else.This book has large illustrations of all of his original work seamlessly wrapped around a very readable font.

The preface, footnotes, and endnotes are plentiful and easily flipped to when needed.

The Inferno is a standard for any home good library, and this is an excellent hardcover copy to have for the price. ... Read more

Product Description
Dante Alighieri paved the way for modern literature, while creating verse and prose that remain unparalleled for formal elegance, intellectual depth, and emotional grandeur. The Portable Dante contains complete verse translations of Dante's two masterworks, The Divine Comedy and La Vita Nuova, as well as a bibliography, notes, and an introduction by eminent scholar and translator Mark Musa.

Translated and edited by Mark Musa. ... Read more

Customer Reviews (18)

Fabulous Read
This book was for a class, but I loved reading it.In excellent condition and arrived on time.

dante's lover
the book was almost new, as defined. It came in a timely manner and it had only one page written . I was very happy.

Just as promised
Book in good shape and is just as described. I had ordered from another place at the same time and this one showed up days before the other one. Thank you for the good service/experience.

Excellent translation, but some drawbacks to this edition
First, a word about Mark Musa's translation of Dante's works. His interpretations of the Divine Comedy and La Vita Nuova are very beautiful, extremely readable, and as true to Dante as you can be in English. Musa's scholarship is excellent, and his introductory essays on Dante and his works are a pleasure to read, offering a broad understanding of what Dante is all about.

However, it is important that you keep in mind that a number of concessions had to be made for this book. Collecting the massive poems of the Divine Comedy, along with La Vita Nuova, is no mean task - I'm astounded Penguin Classics pulled it off in such a compact and readable volume. But this collection comes at the expense of some features that range from minor to outright baffling.

First, the minor stuff. This edition lacks the informative diagrams and illustrations of the standalone Divine Comedy volumes from Penguin Classics (Inferno, et al). Given the complexity of Dante's creation, it is very helpful to have maps to show you where the various parts of the afterlife are, and who inhabits them. Puzzlingly, /The Portable Dante/ includes a detailed map of Purgatory, but only a very vague and un-labeled map of Inferno, and NO map of Paradiso and the celestial spheres. Very strange and disappointing.

More unfortunate is the lack of a glossary. The Penguin Classics /Inferno/ has an excellent glossary of people and places that appear in the poem. This is a phenomenal resource for figuring out who is where in Hell, what they represent, and what Dante is doing with them.

However, the most (potentially) major issue with this volume is the sparse commentary. The individual books of The Divine Comedy have extensive endnotes, detailing broad sections and individual passages in great detail. The notes offer a better understanding of what Dante is doing, because virtually every line of poetry includes multi-faceted references to classical mythology, Christian scripture, and contemporary or historical Italian culture. For the majority of the Divine Comedy, well over 50% of the notes (as compared with the individual Penguin Classics books) have been removed.

The endnotes have been converted to non-intrusive footnotes, which is a welcome shift. But I can't help but feel that also including a detailed endnotes section would have added much, so that at the very least the reader could explore the more obscure references (passages from the Aeneid, the Bible, and so on) if they so desire. I also noticed some notes rather crucial to understanding have been removed completely, which is very unfortunate.

So how come, after all this whining and moaning, I still give /The Portable Dante/ a full five stars? Because Mark Musa's translation is so fluid and vital, and having such a beautiful collection in a compact volume is extremely valuable. There is enough supplementary material that casual readers can enjoy Dante's mastery and creativity, and they will perhaps be tantalized to explore the deeper meanings he plants throughout.

Here's the bottom line: /The Portable Dante/ is what I use when I wish to read Dante to others, or to simply read through for my own enjoyment. If you need extensive scholarly information, I recommend also buying the Penguin Classics editions of the individual parts of The Divine Comedy. But as a smooth and very readable base camp for your exploration of Dante, I can think of no better book than this.

Highly recommended, whatever your level of interest in this fascinating poet and his works.

Good basic text
good translation - not excellent, but good, and the footnotes are helpful. The translator also makes an attempt at explaining the contrapasso for each Canto of Inferno, which can be helpful to the independant reader. ... Read more

Product Description
ERE Nessus yet had reach'd the other bank, We enter'd on a forest, where no track Of steps had worn a way. Not verdant there The foliage, but of dusky hue; not light The boughs and tapering, but with knares deform'd And matted thick: fruits there were none, but thorns Instead, with venom fill'd. Less sharp than these, Less intricate the brakes, wherein abide Those animals, that hate the cultur'd fields, Betwixt Corneto and Cecina's stream.
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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
The second volume of Oxford's new Divine Comedy presents the Italian text of the Purgatorio and, on facing pages, a new prose translation. Continuing the story of the poet's journey through the medieval Other World under the guidance of the Roman poet Virgil, the Purgatorio culminates in the regaining of the Garden of Eden and the reunion there with the poet's long-lost love Beatrice. This new edition of the Italian text takes recent critical editions into account, and Durling's prose translation, like that of the Inferno, is unprecedented in its accuracy, eloquence, and closeness to Dante's syntax. Martinez' and Durling's notes are designed for the first-time reader of the poem but include a wealth of new material unavailable elsewhere. The extensive notes on each canto include innovative sections sketching the close relation to passages--often similarly numbered cantos--in the Inferno. Fifteen short essays explore special topics and controversial issues, including Dante's debts to Virgil and Ovid, his radical political views, his original conceptions of homosexuality, of moral growth, and of eschatology. As in the Inferno, there is an extensive bibliography and four useful indexes. Robert Turner's illustrations include maps, diagrams of Purgatory and the cosmos, and line drawings of objects and places mentioned in the poem. ... Read more

Customer Reviews (2)

perfect version
This is one of the best traslations of the Inferno that i have been able to find.It is easy to understand and certainly not convoluted as many other versions are.In addition this version offers the italian text which is a nice addition.Finally, the notes and commentary povided in this book are amazing and perfect for use in the classroom or just6 for general enjoyment.

I can not wait for this translator's paradise to come out so i can buy it, i know it will be phenominal

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
A poetical translation by Rev. H. F. Cary, with illustrations by Dore. ... Read more

Customer Reviews (5)

Lacks a decent TOC
I don't know how the people who rated this edition 4/5 stars manage to navigate this huge book without an active TOC.Like a lot of old books sold here, it's a simple scan and hardly worth its price (low) and the download (long).

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.

A Well Formatted Classic
Many of the free/cheap classics available on the Kindle are obviously hastily thrown together, and while most are entirely readable they leave something to be desired.

That is not the case with this Kindle edition of the Divine Comedy. The formatting is just perfect for the Kindle and it reads very very well. Absolutely nothing is lost over the paper versions by reading this one on the Kindle.

If only other publishers of the classics would take a clue from this book. I don't mind paying a little bit over a free version is the formatting is as nice as this.

A Dante Fest...
I enjoy Dante and have read several versions.This version is nice and easy to read on the Kindle.

it alone is worth the price of a kindle
seriously it alone is worth the price of a kindle. the prose you love is easily available at your fingertips. the gorgeous illustrations harken back to a finer aesthetic in poetry. i would not visit the circles of hell without this kindle edition. ... Read more

Product Description
THERE is a place within the depths of hell Call'd Malebolge, all of rock dark-stain'd With hue ferruginous, e'en as the steep That round it circling winds. Right in the midst Of that abominable region, yawns A spacious gulf profound, whereof the frame Due time shall tell. The circle, that remains, Throughout its round, between the gulf and base Of the high craggy banks, successive forms Ten trenches, in its hollow bottom sunk. ... 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
The book has no illustrations or index. Purchasers are entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Subjects: Literary Criticism / European / Italian; Poetry / Continental European; ... 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.

No formatting
There's no line breaks in this work, which is essential to reading the poetry. You don't know where one line ends and the next line begins. ... Read more