Discover Dante's original Inferno in this modern and acclaimed Penguin translation. Describing Dante's descent into Hell with Virgil as a guide, Inferno depicts a cruel underworld in which desperate figures are condemned to eternal damnation for committing one or more of seven deadly sins. As he descends through nine concentric circles of ...
Discover Dante's original Inferno in this modern and acclaimed Penguin translation. Describing Dante's descent into Hell with Virgil as a guide, Inferno depicts a cruel underworld in which desperate figures are condemned to eternal damnation for committing one or more of seven deadly sins. As he descends through nine concentric circles of increasingly agonising torture, Dante encounters many doomed souls before he is finally ready to meet the ultimate evil in the heart of Hell: Satan himself. This new edition of Inferno includes explanatory notes and illustrations showing the different layers of hell. Robin Kirkpatrick's masterful translation is also available in a bilingual Penguin edition, with the original Italian on facing pages, and in a complete edition of The Divine Comedy with an introduction and other editorial materials. Dante Alighieri was born in 1265. He studied at the university of Bologna, married at the age of twenty and had four children. His first major work was La Vita Nuova (1292), a tribute to Beatrice Portinari, the great love of his life who had died two years earlier. In 1302, Dante's political activism resulted in his being exiled from Florence. After years of wandering, he settled in Ravenna and in about 1307 began writing The Divine Comedy. Dante died in 1321. Robin Kirkpatrick is a poet and widely-published Dante scholar. He has taught courses on Dante's Divine Comedy in Hong Kong, Dublin and Cambridge, where is Fellow of Robinson College and Professor of Italian and English Literatures. "The perfect balance of tightness and colloquialism ...likely to be the best modern version of Dante". (Bernard O'Donoghue).
John Ciardi's translation of Inferno is detailed and rich with use of the English language that most closely matches the original language of this work.
HIs historical references and explanations are numerous and make the work even more meaningful. For a classical work originally from the middle ages, Ciardi makes it very understandable and enjoyable for modern audiences.
Publishers Weekly, 2012-05-21 Bang has done for Dante's most famous poem something akin to what Baz Luhrmann did for Shakespeare in his 1996 film of Romeo and Juliet: updated the presentation of a classic for a contemporary sensibility without sacrificing its timelessness. Bang (The Bride of E) has preserved the feel and tempo of the original-and the many English translations that readers will be familiar with: "Stopped mid-motion in the middle/ Of what we call our life, I looked up and saw no sky-/ Only a dense cage of leaf, tree, and twig. I was lost," she begins. She has, however, modernized the metaphors; where Dante looked to the politics and culture of his contemporary Italy for allusions to illustrate his sense of faith and morality, Bang mines American pop and high culture. Yes, traditionalists and scholars may shriek upon seeing Eric Cartman (of South Park fame), sculptures by Rodin, John Wayne Gacy, and many others make anachronistic cameos in Bang's version of Hell, but this is still very much Dante's underworld, updated so it pops on today's page. The result is an epic both fresh and historical, scholarly and irreverent: " 'Pope Satan, Pope Satan, Alley Oop!' " begins Canto VII with a line in which Bang mines various previous translations of Dante and the roots of the phrase "Alley Oop" in French gymnastics and a newspaper comic about "a Stone Age traveling salesman from the kingdom of Moo who rode a dinosaur named Dinny," according to Bang's comprehensive notes. This will be the Dante for the next generation. Includes illustrations by artist Henrik Drescher. (Aug.) (c) Copyright PWxyz, LLC. All rights reserved.
Publishers Weekly, 2013-04-15 Do we really need yet another translation of Dante's world-famous journey through the three parts of the Catholic afterlife? We might, if the translator is both as eminent, and as skillful, as Clive James: the Australian-born, London-based TV personality, cultural critic, poet and memoirist (Opal Sunset) is one of the most recognizable writers in Britain. James's own poetry has been fluent, moving, sometimes funny, but it would not augur the kind of fire his Dante displays. Over decades (in part as an homage to his Dante-scholar wife, Prue Shaw), James has worked to turn Dante's Italian, with its signature three-part rhymes, into clean English pentameter quatrains, and to produce a Dante that could eschew footnotes, by incorporating everything modern readers needed to know into the verse-from the mythological anti-heroes of Hell through the Florentine politics, medieval astronomy, and theology of Heaven. Sometimes these lines are sharply beautiful too: souls in Purgatory "had their eyelids stitched with iron wire/ Like untamed falcons." Even in Heaven, notoriously hard to animate, James keeps things clear and easy to follow, if at times pedestrian in his language: "I want to fill your bare mind with a blaze/ Of living light that sparkles in your eyes," says Dante's Beatrice, and if the individual phrases do not always sparkle, it is a wonder to see the light cast by the whole. (Apr.) (c) Copyright PWxyz, LLC. All rights reserved.
Publishers Weekly, 2002-12-09 A veteran translator of Lucretius and Tasso, Esolen ornaments his dual-language edition with Dor illustrations, some rhyme and blank verse-and the results hold their own among the many underworld competitors: "Midway upon the journey of our life/ I found myself in a dark wilderness,/ for I had wandered from the straight and true." A number of texts crucial to Dante, and some by him, appear in appendices; a fulsome section of notes is also included. (Dec.) (c) Copyright PWxyz, LLC. All rights reserved
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