Inferno Dante Inhaltsverzeichnis
Die Göttliche Komödie, italienisch ursprünglich Comedia oder Commedia, in späterer Zeit auch Divina Commedia genannt, ist das Hauptwerk des italienischen Dichters Dante Alighieri. Sie entstand während der Jahre seines Exils und wurde. Dantes Inferno steht für: erster Teil der Göttlichen Komödie von Dante Alighieri, siehe Göttliche Komödie #1. Inferno/Die Hölle · Dante's Inferno (Computerspiel). Inferno / Die Hölle [Bearbeiten | Quelltext bearbeiten]. Grafische Darstellung von Dantes Weltbild nach Paul Pochhammer. Die Hölle ist ein einem antiken. Dantes Inferno: Der Astroführer durch die Unterwelt, Frey nach Dantes "Göttlicher Komödie" | Akron, Voenix | ISBN: | Kostenloser Versand für. In Dantes Inferno nimmt EA Gamer nun mit auf eine Reise in diese Hölle. Das Spiel wird für Playstation 3, Xbox und PSP veröffentlicht. Mit Dantes.
In Dantes Inferno nimmt EA Gamer nun mit auf eine Reise in diese Hölle. Das Spiel wird für Playstation 3, Xbox und PSP veröffentlicht. Mit Dantes. Der Höllengesang aus Dante Alighieris "Divina Commedia" - Canto 33 dell`inferno: blueberrybirman.se: Corinna Baspinar: Libros en idiomas extranjeros. La Divina Commedia, Inferno XVIII. Vergil und Dante im achten Kreis der Hölle (Malebolge), 1. und 2. Bolgia: Bestrafung der Kuppler und Verführer, der.
This matters because rendering Italian verse into English verse forces the translator into all sorts of contortions -- including using unusual and archaic words, changing the logical order of words in sentences, etc.
This makes it quite hard to read. At the same time, there is a sense that this translation gets closer to the original complexity of the language -- a modern Italian speaker might find the same problems in the original from years ago!
The abundant footnotes are crucial to understanding the references Dante makes to his contemporaries, and the backstory of why they are now in hell.
Without those, the text would often be impenetrable. Overall, this book is a double tour de force -- by author and translator. I gave it 4 stars instead of 5 because there must be easier to understand translations around, either more recent or less burdened by the demands of verse.
Peter Thornton's verse translation of the first book of the Divine Commedy, The Inferno, is certainly readable. To the extent that that was an the?
I think for a general reader who just wants to know why The Inferno has remained influential this will serve them well.
There are plenty of contextualizing notes, a must for just about any translation, which will make understanding why certain people are where they are comprehensible to a contemporary reader.
For study purposes I have my doubts but I have my own favorite translations so am doing more of a comparison than simply an isolated assessment.
First, my preferred verse translation is still Ciardi's version plus, if for study purposes, he translated all of the Comedy not just one book so you don't have to change translations when you leave the Inferno.
Part of my favoritism here is likely because it was the third version I had read and the first with a professor who made it come alive for me, so I do want to acknowledge that.
Part of it for me is how the translators try to solve the issue of form. Some compromise is necessary to make an English translation and I am not sure there is a right vs a wrong way, they will all fall well short of Dante in Italian.
I just think that wrestling with a form closer to Dante's helps students to slow down and do a better close reading while making it too easy to read turns Dante's work into simply a story that can be read quickly and easily.
Again, this is personal opinion and preference. The necessary notes will keep the work from being read like a contemporary novel and could, with the right effort from an instructor, keep the reading close.
I just have a hard time imagining The Inferno as an easy read and hope not to see this type of translation of Purgatorio or Paradiso since those should be more difficult to grasp in keeping with Dante's apparent intentions.
I would certainly recommend this to general readers who just want to read it and maybe for high school classes that want to get through it with just a few areas of closer reading.
I would also recommend instructors look at it and decide if this translation would serve their purposes for what they hope to achieve in their courses.
It is a good translation even though I would personally choose not to use it. Reviewed from a copy made available by the publisher via Edelweiss.
See all reviews from the United States. Top international reviews. Translate all reviews to English. Pinsky's translation really brought the Inferno to life for me.
Having been disapponted with Sisson's translation OUP , I was hooked with Pinsky's: I found the power, tangibility and relative clarity I was hoping for.
When it comes to notes, however, Mark Musa's Penguin are preferrable. After having read Pinsky's Inferno, I obviously had to read the rest of the Comedy.
I found two wonderful translations, in Merwin Purgatorio and Musa Paradise. Although the Comedy naturally contains scholastic elements, the poem's originality, coupled with its existential dimension, make sure The Divine Comedy still resonates.
Thank you for your feedback. Sorry, we failed to record your vote. Please try again. Having wanted to read this book for a while but being put off by the seemingly endless number of translations available, after not much research I finally plumped for this version by almost picking it at random.
Generally, I didn't have any problems with the translations and it all seemed to flow quite nicely.
Admittedly, I haven't read any other versions so have nothing to compare it to, but suffice to say I didn't struggle with this book one bit.
Onto the actual story that Dante tells, I actually really enjoyed it. Despite being hundreds of years old, the story seems very timeless.
Although it does seem like a medieval way of name dropping; with a constant barrage of people who were then famous or infamous, I suppose but without the notes, I'd have had no idea who they were or their significance.
There's so many layers to each Canto that you don't even realise are there until you read the notes.
It's quite brilliant, in a way, and another reason why I enjoyed this version of the book. The "comedy" part of it is, as you would imagine, rather dark at times.
For example, two blokes are stuck in a frozen lake in Hell with only their heads above the ice, with one guy eating the other guys brains.
Hilarious stuff, I'm sure you'll agree. Although I did laugh out loud at one or two phrases, like the devils that were blowing raspberries at each other, with the other devil "saluting them with his bugle of an a--hole"!
It's an easy to read book, considering how old it is, and it is really worth what little effort it takes to get through.
A great book and a very nice translation. For a modern English translation also buy the Penguin version by Musa with its extensive notes.
I could hardly believe how awful this was! There are footnotes all over the place, in same size text, no indentations to indicate when the summaries end and text proper begins, etc.
I could go on. It is an insult to a great classic, and I hope that some of the other editions are better. But will try another one, perhaps So much easier than the original.
Makes it manageable. Good book as a whole. Load more international reviews. Great copy of an amazing read.
It is wonderful to be able to listen to the Inferno being read. Sometimes on my car CD player the narrator's voice drops and I find myself having to turn up the volume.
Some of the voices that he adopts for some of the characters I find a little grating. One person found this helpful. A very good set of English language versions of the the first Canticle of the Commedia.
These are not really translations, but renderings by often well-known poets, and not uniformly excellent - but that is a matter of personal taste, of course.
The modern english suited me to be able to better understand the prose. It was very useful to see the connections to Dante's Inferno.
I think I got more out of Dan Brown's "Inferno by having read this text. Would have been helpful to know that the book was also in its original Italian too.
But I don't know Italian all that well, and I'm constantly having to find the next English part in all 34 "cante.
Horrible formatting too. This is the edition that I would recommend to anyone deciding to buy a copy of Inferno.
It is an easy to read translation, has useful notes and includes an Italian text. Adds so much to the understanding of Date's work. Great book.
Who wouldn't like it? Oder besser: Des Infernos. Translate review to English. Quick delivery. Very satisfied thank you.
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Preview — Inferno by Dante Alighieri. Anthony M. Esolen Translator. Of the great poets, Dante is one of the most elusive and therefore one of the most difficult to adequately render into English verse.
In the Inferno, Dante not only judges sin but strives to understand it so that the reader can as well. With this major new translation, Anthony Esolen has succeeded brilliantly in marrying sense with sound, poetry with meaning, capturing bot Of the great poets, Dante is one of the most elusive and therefore one of the most difficult to adequately render into English verse.
For, as Dante insists, without a trace of sentimentality or intellectual compromise, even Hell is a work of divine art.
Get A Copy. Paperback , pages. Published December 9th by Modern Library first published More Details Original Title.
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As this book is very old, so i was wondering is it tough to read and understand? I mean the Vocab and all. Edward Richmond That's kind of a tricky question.
Most people will read it in translation from the original 13th-century Italian, so the vocabulary will vary in diffi …more That's kind of a tricky question.
Most people will read it in translation from the original 13th-century Italian, so the vocabulary will vary in difficulty depending on the translators' goals.
In general, any reasonably recent translation will be quite intelligible to most readers. I have seen bright teenagers handle it without any trouble at all, in terms of their ability to comprehend the vocab.
The real challenge is the historical and theological background of Inferno, which is complex. Dante was a high-ranking career politician in Florence, and was subsequently exiled from there, stripped of his property and forced to flee for his life.
He was an intensely political man, extremely well educated, and he was nursing grudges that show up in the poem. He makes a lot of references to political events that most modern readers won't understand.
And also, he spends a lot of time talking about medieval Roman Catholic theology, applying it to the story at hand. Again, modern readers tend to have trouble.
The best way to ensure a good experience with this poem is for you to choose a translation that is intended to be readable, with good notes on the text.
I cut my teeth on the poem with the translation by Mark Musa, which you can find in The Portable Dante. It has fairly good explanatory notes.
A more recent, and possibly better choice, especially if you like parallel text translations, is the Inferno translation by Durling and Martinez, which has excellent notes.
It's easily my favorite of those that are commonly available, and I have had glowing reviews of it from friends who wanted an accessible introduction to the poem.
Is this book supposed to lead us on a better path to God so we don't end up in Hell? Each little vignette reveals something impor …more The Divine Comedy which is not just the Inferno -- read all three parts!
Each little vignette reveals something important about the human mind. There is poetic justice in each punishment.
The Purgatorio shows people struggling to grow up and stop being infantile sinners. And the Paradisio -- is about science! See all 28 questions about Inferno….
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Jump on it! Being that I am an atheist living in the "Bible Belt," I was certain that reading this would lead to some sort of goodreads tirade, which can at times feel about as good as vomiting up a sour stomach or For such a holy shitfuck, he had quite the murky mind.
And don't be surprised if he zaps you with the occasional rotting pustule or maggot-infested knife wound. I was going to be threatened with nasty, rotting, coldsore-herpee-mange-pits all over my body that George W.
Bush and Paris Hilton are going to take turns pouring their boiling-hot-diarrhea-snot into. Dante, you sick bastard!
So onward I galloped, discerning through all the filthy language that: A I am, in fact, going to hell. C The Dalai Lama, too, is going to hell.
He'll punish you for not worshiping Him before you even know who He is!!! If there was ever a better use for "WTF? That's like your mom smacking you in the mouth for getting pregnant while you're still a virgin, or like wanting to ban a book that you haven't even seen in real life yet!
Every evolutionary step forward up to the first Homosapien Christian is a batch of poor bastards that has been ferried across the River Styx.
I mean seriously Apparently, the wholly omniscient creator forgot to put them on the guest list. Ain't that some shit?
One specific gripe about the story I'm not digging this whole "emasculated devil" thing. I mean, wallowing in your own filth freezing your ass off with bitch-tears in your eyes at all times?
This is the malevolent force that the Christians live in constant fear of, seriously? It's a non-stop temptation to be like HIM?
Come on, everybody knows the devil is confusingly sexy and he likes to smoke fancy cigars and drink brandy and wear fine suits and tell hilarious jokes.
How else is he supposed to charm us away from the true path? Keep up, Dante Forgive me, father, for I have sinned. The river will not allow U to get with, Mr.
I just don't know What made you forget that I was raw? Farmers What!!! I'm ready we're ready!!! I think I'm gonna bomb a town get down!!
View all 87 comments. I recently revisited this classic. At the very end of the pier, beyond the Wild Mouse and giant Ferris wheel, there was a new roller coaster that looked pretty frightening.
Not only did the tracks have steep climbs and amazing plunges but there was an opening in the boardwalk where the roller coaster took its passengers under the pier.
Hector looked over at the spot in the boardwalk from which the train would eventually reemerge. He waited and waited.
This was taking much more time than he though. Hector crouched down to hear the shrieks and howls more clearly. Waves of heat rising from the spaces between the wooden boards of the boardwalk burned his face.
After several uneasy moments he stood back up and watched as the roller coaster finally rolled through the cavernous opening in the boardwalk and stopped near the line.
One terrified passenger unbuckled herself and climbed out. She walked past, eyes downcast, and Hector could both see and smell her hair was singed.
When the old man nodded, she pulled Hector by the hand to the front of the roller coaster and strapped him in next to her.
As the roller coaster began moving, Hector tried to console himself with the grim fact that everyone on the preceding ride did at least come back alive.
View all 62 comments. Kim I hear, you Glenn. I always appreciate and enjoy your insights! Still, the book was interesting to me, though I had to admit, I picked up the book rea I hear, you Glenn.
Still, the book was interesting to me, though I had to admit, I picked up the book read some of it and for whatever reason, put it down. When I picked the book back up, I had to re-cap a lot of things, but I really enjoy the background behind Dante's writing the book with the parallels to the Greek myths to outline the Seven Deadly sins with their still appropriate punishments.
Glenn Russell Thanks, Kim! Like yourself, many readers across the globe continue to be inspired by the great poet's classic.
It is widely considered the preeminent work in Italian literature, and is seen as one of the greatest works of world literature.
The poem's imaginative vision of the afterlife is representative of the medieval world-view as it had developed in the Western Church, by the 14th century.
It helped establish the Tuscan language, in which it is written, as the standardized Italian language. It is divided into three parts: Inferno, Purgatorio, and Paradiso.
One of the great classics that everyone should attempt reading once. For Walking Dead fans, had there been no Dante, there could never have been a Kirkman.
There is incredible violence and suffering it is Hell after all , but the relationship between Virgil and Dante is a beautiful one that evolves as their descend lower and lower.
I read both the John Ciardi translation in verse rhyming for the first and third lines in each stanza trying to keep to Dante's syllable structure and John M Sin One of the great classics that everyone should attempt reading once.
I read both the John Ciardi translation in verse rhyming for the first and third lines in each stanza trying to keep to Dante's syllable structure and John M Sinclair's prose translation which also includes the original on the left pages.
Both are highly commendable and have great notes and footnotes. It also moves between dreaming and reality "I went astray The forboding of the "dark wood" is a perfect introduction to the description of hell that awaits us.
Even the fact that he strayed from the "straight road" seems to presage the curvy, circular path he will take through hell's many circles.
This is one of my favorite openings and chills me a bit whenever I reread it. If I were to see this book at a painting, the first one that comes to mind is Guernica by Picasso where the suffering is so painfully evident - albeit in black and white perhaps echoing the black text on the white page.
The implicit condemnation of the perpetrators and the overall feeling of suffering in Inferno as in Guernica is overwhelming.
I suppose I could also choose from one of Otto Dix's paintings or Bosch's but the very first that I thought of was Picasso.
View all 14 comments. Since it's Good Friday, and thus exactly years since Dante's pilgrim descended into the underworld, I thought it would be an auspicious moment to tell people about the project I've been pursuing together with Dr Sabina Sestigiani, an Italian lecturer at Swinburne University in Melbourne.
Dante's poem is celebrated as one of the treasures of world literature - but it is not very accessible, being written in archaic Italian.
Although there are translations, and even these are wonderful, a tran Since it's Good Friday, and thus exactly years since Dante's pilgrim descended into the underworld, I thought it would be an auspicious moment to tell people about the project I've been pursuing together with Dr Sabina Sestigiani, an Italian lecturer at Swinburne University in Melbourne.
Although there are translations, and even these are wonderful, a translation of a poem can never be more than a shadow of the original.
Eliot famously advised people just to dive in and start reading. It worked for Eliot, and you feel that in principle it must be the right approach.
All the same, most readers find it a daunting prospect. We wondered if there was any way to make the voyage easier.
Using the CALL platform we've developed at Geneva University, Sabina and I have been putting together a first version of what a electronic poetry appreciation assistant might look like.
If you have a headset and you're on Chrome, Firefox, Safari or Explorer - I'm afraid we don't yet have it available for mobile devices - try going here.
Log in as 'guest' no password required and click 'Allow' on the popup to let the app access your microphone.
You should now be on a screen that looks like this: On the right, there's a scrollable pane with the first 30 lines of the Inferno in slightly modernised Italian orthography.
You can hover your mouse over any line to see it in Longfellow's English translation - we chose Longfellow since he's both a great poet in his own right and translates very literally.
At the top, there's an embedded audio file where you can hear Sabina reading the text aloud. Italians who've tried out the app have been complimentary about her interpretation.
On the left, we have an area where you can practise reading yourself. You're shown the poem one line at a time.
If you press the Help button question-mark icon , you'll get Longfellow's translation and hear Sabina reading just that line.
The intention is that you should listen a few times, then press on the Record button microphone icon , keep it pressed down while speaking , and release.
You should hear your voice echoed back, and the app will let you know if you said it approximately right: you'll get a green border for "okay", red for "try again".
You use the arrows to move to the next and previous lines. You can find the other extracts by using the Lesson tab on the left.
Speaking just for myself, I've found the app very helpful for developing my appreciation of the beautiful language; I've soon got to the point where I want to learn pieces by heart, and find myself repeating them mentally.
We're curious to hear what people think - please let us know! If you want to try creating your own interactive versions of poems, it's straightforward and just involves copying text onto a spreadsheet and recording the audio using an online tool.
Message me and I'll send you details. Happy Easter! Italians who've heard them say they're quite good.
Here is the first one, with a beautiful translation by Peter Robinson: Amore di lontananza Ricordo che, quand'ero nella casa della mia mamma, in mezzo alla pianura, avevo una finestra che guardava sui prati.
Io allora non avevo visto il mare che una sol volta, ma ne conservavo un'aspra nostalgia da innamorata. Verso sera fissavo l'orizzonte socchiudevo un po' gli occhi.
Towards evening I stared at the skyline; narrowed my eyes a little; caressed outlines and colours between my lids; and the line of hills flattened out, trembling, azure: and seemed the sea to me and pleased me more than the real sea.
She wrote it in , when she was only seventeen. Nine years later, she was dead. You can find it here.
View all 29 comments. The other day, in the comment thread to her review of The Aeneid , Meredith called The Divine Comedy "lame": specifically, she objected to the fact that Dante put all the people he didn't like in Hell.
Well, Meredith, you're perfectly welcome to your opinions - but I'm half Italian, and I've been politely informed that if I don't respond in some way I'm likely to wake up some morning and find a horse's head lying next to me.
So here goes. I actually have two separate defenses. First, let's conside The other day, in the comment thread to her review of The Aeneid , Meredith called The Divine Comedy "lame": specifically, she objected to the fact that Dante put all the people he didn't like in Hell.
First, let's consider Dante's artistic choices, given that he's planned to write a huge epic poem where he's going to visit Hell, Purgatory and Heaven, each of which is divided up into a large number of smaller areas corresponding to differents sins and virtues.
Now, who is he going to meet there? One option would be to have allegorical figures directly representing Pride, Wrath, Charity etc. Or he could just make people up, but then he wouldn't have any space for character development, and you'd never be able to keep track of all the invented figures.
Lindsay tried that route in A Voyage to Arcturus , and, even though the book's worth reading, he showed how hard it is to make it work.
Every time someone interesting turns up, they always seem to get killed fifteen pages later. I think the choice Dante made was the best one: to use real people.
Of course, it is a bit presumptuous to decide that the ones going to Hell are mostly guys he doesn't like, but nothing else makes sense.
If you want damned souls to populate the Hell of the Hypocrites, isn't Caiaphas, the high priest who falsely condemned Jesus, a sensible choice?
If you're looking for Traitors to Lords and Benefactors, then don't Brutus and Cassius fit pretty well? And every now and then he meets his friends down there too.
His beloved teacher Brunetto Latini is damned for sodomy, which shocks Dante just as much as it does me, but in his world-view it makes perfect sense; homosexuality is plain wrong, that's all there is to it.
Okay, that was my first defense. My second is that it's far too simplistic to say that Dante is self-righteously damning all his enemies and extolling his own virtues.
The theme that continually comes back through the first two books is that Pride is the root of all sin, and Dante is very conscious of his own sinful nature.
For example, he's way too happy to gloat over the fact that his enemy Filippo Argenti has been condemned to the Hell of the Wrathful, and Virgil gently points out the irony.
Then, later, he has to spend the whole of Book 2 climbing up Mount Purgatory, which is hard work.
He's got plenty of sins to purge. To me, the real problem with Dante is that his world is so very different from mine, and I keep having to scramble to the footnotes to get the necessary background; so it's hard to keep the flow of the book, since you're constantly being interrupted.
But even so, it's still a remarkable piece of work. We just don't think seriously any more about the nature of Good and Evil, Sin and Redemption.
Dante's world thought they were crucially important, and he's one of the few people who's still able to give us a window into that view of life.
It's nowhere near as irrelevant as we like to make out. Don Corleone, will this do? Or do I have to add footnotes as well? View all 11 comments.
An excellent translation--even better than John Ciardi. Like Ciardi, Pinsky is a real poet and makes Dante the poet come alive.
His verse has muscularity and force, and his decision to use half-rhyme is an excellent one, since it allows us to attend to the narrative undistracted.
View all 9 comments. Sep 09, Joshua Nomen-Mutatio rated it really liked it Shelves: fiction. View all 40 comments.
May 29, Hamad rated it really liked it Shelves: reads , paperbacks. We must go deeper into greater pain, for it is not permitted that we stay.
I have tried books as The princess saves herself in this one and Milk and simply did not like them because they felt like a Facebook or a Tumblr post more than a book.
And I was not disappointed. I will take this opportunity to thanks the genius-being who is the translator. To be able to capture the essence, the rhyme and the messages in another language while maintaining the originality is no easy task.
And he outdid himself in this one. People are tortured here and not supposed to develop. A point that Dante clearly emphasized is that the punishment is equal to the sin.
He decided that some people as Saladin and Prophet Mohamet were in hell and he even decided what circles to put them in.
A slightly offending thing because it was clearly biased. View all 22 comments. Oct 08, Nefariousbig rated it it was amazing Shelves: reviewed.
LIMBO - A place of monotony, here the souls are punished to wander in restless existence while they moan helplessly in echoes between the ruins of a temple ii.
LUST - Surrounded by erotic representations, those overcome by lust are forced to watch and experience disgusting things, ultimately being condemned to drown in the menstrual river iii.
GLUTTONY - The circle itself is a living abomination, a hellish digestive system revealing horrific faces with mouths ready to devour the gluttons over and over for eternity iv.
HERESY - The giant demon watches closely over his fire pit, dwarfing the damned that are dragging the new arrivals in the boiling lava.
Those who committed the greatest sins against God are getting a special treatment inside the temple where they are doomed to burn for eternity in the scorching flames vii.
I claim no ownership to any information in this review, and I own absolutely no rights to any of the property mentioned herein.
View all 17 comments. Ugolino, a former governor of Pisa, is feasting on the neck of Archbishop Ruggieri. Ugolino was trapped in a tower along with his four sons.
Ugolino concludes: "Then hunger proved more powerful than grief. I MEAN. Dante is often called a "theological poet. Dante, you madman.
Mar 11, James rated it really liked it Shelves: 3-multi-book-series , 4-written-preth-century , 1-fiction. Book Review 4 out of 5 stars to Inferno , the first of three books in the "Divine Comedy" series, written around by Dante Alighieri.
A few pieces of background information for those who many not know, before I get into a mini-review. Inferno, which means "Hell" was one of three books Dante wrote in the 14th century, essentially about the three spaces people occupy after death: Hell Inferno , Purgatory and Heaven Paradiso.
I've only read Inferno, so I'm not able to discuss much Book Review 4 out of 5 stars to Inferno , the first of three books in the "Divine Comedy" series, written around by Dante Alighieri.
I've only read Inferno, so I'm not able to discuss much on the other two, but I'd like to some day. They were not written in English, so I have read a translated version.
These works are considered comparable in fame and beauty as those of William Shakespeare. In the 14th century, religion was one of the only things people did with their lives besides work and raise a family.
They had a lot of time to spend on it, wondering what might happen. Dante captures the exact sentiments we've all felt throughout our lives, and he displays it through the nine circles or gates of hell.
He presents it as a torture for all those who did bad things while they were alive. The story, in its basic form, is Dante himself traveling in a boat through the river that runs through Hell, stopping to see each realm.
He's led by the famous poet Virgil. He encounters people or archetypes of people he knew and those he's heard of. Essentially, it's a story of justice and the contradictions in religious beliefs for all of God's followers.
Dante pushed people to think about their actions and beliefs. And he created a story based on his own journey to say everything he felt about what he's experienced in life.
It's full of questions. It's been the basis for so many movies, books and plays in the future. It's so often quoted or referenced, it's literally one of the most famous works around Though it's no where near a comparison, it reminds me a little bit of The Ninth Gate, a movie with Johnny Depp, that I love, about people trying to reach the Devil.
I've read one of his books and plan to read The Club Dumas soon. As for this one, I encourage everyone to find a passage from The Divine Comedy, even if you prefer Paradise or Purgatory, something a tad more positive, just to see the language and the lyrics Dante shares.
It's beautiful. I could go on and on, but hopefully this is enough to wet your appetite. About Me For those new to me or my reviews I write A LOT.
Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by. View 2 comments. If you're into stuff like this, you can read the full review.
What I love about Dante is how he doesn't invoke the Muses, unlike Homer, or Virgil, and that he goes straight to the heart of the matter, and straight in to the poem, i.
In the middle of his life Dante is lost in a dark wood, the man he most admi If you're into stuff like this, you can read the full review.
In the middle of his life Dante is lost in a dark wood, the man he most admires, a fellow poet, takes him by the hand and leads him through hell and purgatory, but when they reach the entry for Paradise, Virgil must give way to Beatrice, love is greater than wisdom, Dante's love for Beatrice, his desire for wisdom, what follows is exquisite poetry, and both Botticelli and Dali make an effort to capture the genius that resides there, as words, Virgil's trade, and Dante's, cede to inner knowing, as they ascend, then transcend, life, and reach beyond star and sun into the vast blue.
TS Eliot wrote that Dante and Shakespeare "divide the world between them-there is no third. I very much doubt it. The s Penguin verse translation I read by Mark Susa was rubbish.
Now I listened to an Audiobook with a translation by Robert Pinsky. Think I'll take T. Eliot's advice: use a prose translation if you must but learn Italian if you're serious about getting anything out of Dante's poetry Portuguese and Italian both came from the same mold, Latin, but they're two very different languages.
If you're into Medieval Literature, read on. Jan 08, Leo. Maybe Dante was referring to the levels of materialism.
The more one has the more one wants, spiraling downwards, deeper and deeper until the matter consumes. So dense and dark with matter and at absolute evil, Hell, where Satan resides.
Nov 15, Adina rated it liked it Shelves: classics , italy , the-literature-book-pres. Another book in verse that I read and it did not make me scream as in the pains of hell.
Pun intended. The divine Comedy is a post-classical epic poem, apparently. It is an epic because it is long such as the Iliad and Aeneid , it talks about heroic deeds, it is an allegory and it does have history elements, of Florence to be precise.
What makes this poem different from others is that the narrator is inside the story instead of omniscient compared with the other epics. Moreover, elements of Chri Another book in verse that I read and it did not make me scream as in the pains of hell.
Moreover, elements of Christianity are introduced in the mix. The Divine Comedy is structured in three parts Hell, Purgatory and Heaven which is expected if I think about the Holy Trinity and the meaning of number 3 in Christianity.
I only read Inferno so I will only discuss that part. Our hero finds himself in a forest which apparently is the symbol of a life of sin.
He tries to climb a mountain but it is attacked by wild beasts. The poet Virgilius, who else, comes to his aid and convinces the narrator to follow him on journey through Hell and beyond in order to find salvation.
Dante's Hell has 9 levels, representing 9 sins. I might not have chosen the same order, for example the sins of violence are less important than fraud I took them as they came.
I listened to Robert Pinsky's translation, a modernised version, which I think made the poem bearable for me. After failing to read The Iliad I believe it is very important to find a decent translation, one that makes the text more accessible to a novices to this genre, like me.
The Inferno, part one of Dante's epic poem, the Divine Comedy, is the most imaginative and lyrical poetry I have read so far in my life.
I'm yet to read Purgatory and Paradise, but in my honest view, I doubt if any other poetic work can surpass Dante's Divine Comedy.
Inferno is Dante's experience in walking through Hell. His guide is no other than Virgil, the famous poet who wrote Aeneid, sent by Beatrice, Dante's devoted love interest, who he says is in Paradise.
Dante's version of Hell is infl The Inferno, part one of Dante's epic poem, the Divine Comedy, is the most imaginative and lyrical poetry I have read so far in my life.
Dante's version of Hell is influenced by Christian theology, philosophy and former literary works of Virgil, Ovid, Homer and the like.
Virgil's Aeneid is said to be the most associated literary text that has influenced Divine Comedy the most. Dante's Hell is funnel-shaped and has nine tiers that punish different sins.
At the bottom is Lucifer. It is fascinating to see how imaginative and creative Dante has been in inventing the different tiers of hell, the sins which are punished in them and the punishment types.
The punishments which begin lightly in the first tier gets gruesome as you go down the tiers. Some of the characters sinners in the Hell include the real-life people Dante knew some who were not even dead at the time of Dante's fictitious journey through hell as well as classical and mythological characters that were drawn from famous, old literary works.
What I was awestruck the most is the graphic account of Hell given in such beautiful lyrical verses. Even the gruesome details of punishment of the sinners were made less horrific because the verses describing them were melodious.
And the sinners, chosen from existed and existing people and some of the most loved mythical characters, added realism to the poem.
I'm so amazed that a work written in the thirteen century can have such a strong impression on modern readers. But given the quality of the work, the realism with which the work is so imbued, it is not surprising the reverent popularity the Divine Comedy has acquired and maintained throughout the centuries.
The graphic description of each circle in Hell did give me the intended eerie dismal feeling. With this reading, I understood the poem better, and that understanding helped me to appreciate full well the power of imagination and creativity in Dante.
Inferno is undoubtedly one of the masterpieces in epic poetry. View all 10 comments. This is such an interesting book, though definitely very hard to get through.
I think if I was able to read it in Italian it would be a little easier as it would actually be read like Dante intended, but it's still really cool to see all the concepts!
This is such an influential piece of literature and is referenced SO MUCH in culture that it is really cool to have a basis for it.
I think I may reread this in a different rhyming translation next time to see what that would be like, though I know the rhyming translation leaves a lot of the content out, or I may read a more modern translation so it will be easier for me to understand.
Either way, I'm really glad I read this! Dante's version of hell is so interesting and poetic har har that it's hard not to like it.
If you would rather NOT read old english, pick something else. I read Longfellow's translation the whole way through and just looked at another why i waited this long I have no idea and the other was a lot easier to read!
Before I start talking about the book proper, I have a confession to make: I wasn't sure I really wanted to read philosophical poetry written seven centuries ago.
I had doubts about style, quality of translation and my own lack of literary background in decyphering the numerous Christian and mythological references, not to mention political and cultural trivia from Dante's Florence.
Thanks to my Goodreads friends, I took the plunge and I can report back that it was well worth the effort.
Even be Before I start talking about the book proper, I have a confession to make: I wasn't sure I really wanted to read philosophical poetry written seven centuries ago.
Even better, it wasn't an effort, but a joyride, thanks primarily to my lucky pick of the Ciardi translation for my first foray into the phantastical world of Dante.
So my answer to the questions: can we still read Dante for pleasure and not for academic study is a resounding yes.
Another big Yes is the answer to the relevance of the Commedia for the modern reader. The fundamental soul searching questions about the relationship between spiritual and material life, morality and political power, religious and secular governance, reason and faith remain unchanged over centuries and must still be answered by each of us after our own fashion.
Dante is as great a choice as the lightbearer showing the way to redemption, as Virgil was to the poet on his descent into Hell.
Nell mezzo del camin di nostra vita mi ritrovai per una selva oscura che la diritta via era smarrita.
Page after page of commentary has been written about these famous opening lines. The key to deciphering the poem is here: an allegorical journey of self discovery and liberation from doubts, uncertainty and fear.
But Human Reason on its own is not enough, and salvation for Dante can come only by way of Divine intercession. Somebody up there loves him Beatrice, the love of his life, symbol of purity and innocence, taken away to Heaven in her early youth.
She sends a guide to help Dante on his perilous journey: the Roman poet Virgil, the mentor and personal hero of our narrator. Together they must pass through the underground halls of the damned, there to witness the justice administered by a stern God upon sinners of every variety.
Only after renouncing and condemning sin, can the upward journey begin. Lasciate ogne speranza, voi ch'intrate Another famous quote that has entered into the world's cultural heritage marks the gate to the depths of eternal torment and despair.
I have no intention of enumerating every level of the arhitecture of Hell and every lost soul that Dante and Virgil encounters.
What impressed me most though was the rigid organization and the careful planning of each punishment, designed to reflect the gravity of the crime and to correctly assign the torment most appropriate for each category of sinner.
For example, thieves must steal from one another the very shapes in which they appear. Nothing is left to chance, and accurate maps can and have been drawn of the allegorical geography of Hell, its nine concentric and descending level, its dark rivers and fiery pits.
Instead of chaos and anarchy I discovered an inflexible and merciless order, with Minos as the judge who weights each soul's guilt and then sends them to their correct circle and niche, like with like, crime and punishment linked together for eternity.
Contrary to popular opinion, fire and brimstone are not the typical infernal punishments, although they are present. The place is filled with a number of rivers, swamps, deserts, a burning plain, a huge waterfall, a frozen lake, the towers of the City of Dis, and the ditches and bridges of Malebolge ten sections of a circle shaped like ditches, pouches, or purses.
A great chain of being extended from gross matter, animals, and humanity to the nine orders of the angels, and then to God in the Empyrean Heaven.
The most important rule in the Inferno , as well as in Purgatory and Paradise , is that Dante makes the rules. Laws can be broken or twisted to suit his poetic purposes, but they are always his alone.
Such inventive details, often created by the author out of whole cloth, provide the reader with a rich, textured world of real individuals and a universe with its own specifically Dantesque regulations and customs.
Its most interesting inhabitants are not classical monsters, mythological figures, or heroes but instead are contemporary Italians, figures from all over the peninsula.
It is an all too human world that we all immediately recognize as the one in which we live. Jean-Paul Sartre once wrote that Hell is other people.
Numerous specific physical punishments in Hell require guardians or bureaucrats not to mention torturers enjoying their work , just as a prison requires jailors and executioners.
Thus Dante employs a wide variety of classical figures to serve in this capacity, including Charon, Minos, and the centaurs.
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See details. In this first part of the epic The Divine Comedy , Dante is led by the poet Virgil down into the nine circles of Hell, where he travels through nightmare landscapes of fetid cesspools, viper pits, frozen lakes, and boiling rivers of blood and witnesses sinners being beaten, burned, eaten, defecated upon, and torn to pieces by demons.
Here the pilgrim Dante subdues his own personality in order that he may ascend. In fact, in contrast to the Inferno , where Dante is confronted with a system of models that needs to be discarded, in the Purgatorio few characters present themselves as models; all of the penitents are pilgrims along the road of life.
Dante, rather than being an awed if alienated observer, is an active participant. If the Inferno is a canticle of enforced and involuntary alienation, in which Dante learns how harmful were his former allegiances , in the Purgatorio he comes to accept as most fitting the essential Christian image of life as a pilgrimage.
As Beatrice in her magisterial return in the earthly paradise reminds Dante, he must learn to reject the deceptive promises of the temporal world.
Despite its harsh regime, the Purgatorio is the realm of spiritual dawn, where larger visions are entertained. Whereas in only one canto of the Inferno VII , in which Fortuna is discussed, is there any suggestion of philosophy , in the Purgatorio , historical, political, and moral vistas are opened up.
It is, moreover, the great canticle of poetry and the arts. In the Purgatorio he extends that tradition to include Statius whose Thebaid did in fact provide the matter for the more grisly features of the lower inferno , but he also shows his more modern tradition originating in Guinizelli.
Shortly after his encounter with Guinizelli comes the long-awaited reunion with Beatrice in the earthly paradise. Thus, from the classics Dante seems to have derived his moral and political understanding as well as his conception of the epic poem—that is, a framing story large enough to encompass the most important issues of his day, but it was from his native tradition that he acquired the philosophy of love that forms the Christian matter of his poem.
I was born sub Julio , though late in his time, and I lived in Rome under the good Augustus, in the time of the false and lying gods.
Born under Julius Caesar , he extolled Augustus Caesar. Virgil is a poet whom Dante had studied carefully and from whom he had acquired his poetic style, the beauty of which has brought him much honour.
But Dante had lost touch with Virgil in the intervening years, and when the spirit of Virgil returns it is one that seems weak from long silence.
But the Virgil that returns is more than a stylist; he is the poet of the Roman Empire, a subject of great importance to Dante, and he is a poet who has become a saggio , a sage, or moral teacher.
And yet, of course, Virgil by himself is insufficient. Dante, on the other hand, was determined to go beyond history because it had become for him a nightmare.
In the Paradiso true heroic fulfillment is achieved. Their historical impact continues and the totality of their commitment inspires in their followers a feeling of exaltation and a desire for identification.
In his encounters with such characters as his great-great-grandfather Cacciaguida and Saints Francis , Dominic , and Bernard , Dante is carried beyond himself.
The Paradiso is consequently a poem of fulfillment and of completion. It is the fulfillment of what is prefigured in the earlier canticles.
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