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Read the Following Lines From the Divine Comedy

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Long Italian narrative poem past Dante Alighieri

Dante shown holding a copy of the Divine Comedy, next to the archway to Hell, the seven terraces of Mount Purgatory and the city of Florence, with the spheres of Heaven above, in Domenico di Michelino's 1465 fresco

The Divine One-act (Italian: Divina Commedia Italian pronunciation: [diˈviːna komˈmɛːdja]) is an Italian narrative poem by Dante Alighieri, begun c. 1308 and completed in 1320, a year before his death in 1321. It is widely considered the pre-eminent piece of work in Italian literature[one] and one of the greatest works of globe literature.[2] The poem's imaginative vision of the afterlife is representative of the medieval worldview as it had developed in the Western Church past the 14th century. It helped constitute the Tuscan linguistic communication, in which it is written, as the standardized Italian linguistic communication.[3] It is divided into 3 parts: Inferno, Purgatorio, and Paradiso.

The narrative takes every bit its literal bailiwick the country of the soul after death and presents an paradigm of divine justice meted out as due penalty or advantage,[4] and describes Dante's travels through Hell, Purgatory, and Paradise or Heaven.[5] Allegorically the verse form represents the soul'south journey towards God,[6] beginning with the recognition and rejection of sin (Inferno), followed past the penitent Christian life (Purgatorio), which is then followed past the soul'southward ascent to God (Paradiso). Dante draws on medieval Roman Catholic[vii] [8] [ix] [10] [11] theology and philosophy, peculiarly Thomistic philosophy derived from the Summa Theologica of Thomas Aquinas.[12] Consequently, the Divine Comedy has been chosen "the Summa in poetry".[thirteen]

In the poem, the pilgrim Dante is accompanied by three guides:[fourteen] [4] Virgil (who represents homo reason, and who guides him for all of Inferno and most of Purgatorio);[15] Beatrice (who represents divine revelation,[xv] theology, faith, and grace, guiding him at the end of Purgatorio and for about of Paradiso);[16] and Saint Bernard of Clairvaux (who represents contemplative mysticism and devotion to Mary the Mother, guiding him in the concluding cantos of Paradiso).[17] Erich Auerbach said Dante was the first writer to depict man beings every bit the products of a specific time, place and circumstance as opposed to mythic archetypes or a collection of vices and virtues; this along with the fully imagined world of the Divine Comedy, unlike from our ain but fully visualized, suggests that the Divine Comedy could be said to take inaugurated realism and self-portraiture in modern fiction.[eighteen]

The work was originally simply titled Comedìa (pronounced [komeˈdiːa], Tuscan for "Comedy") – so also in the commencement printed edition, published in 1472 – afterward adapted to the modern Italian Commedia . The adjective Divina was added past Giovanni Boccaccio,[xix] attributable to its field of study matter and lofty style,[20] and the get-go edition to name the poem Divina Comedia in the championship was that of the Venetian humanist Lodovico Dolce,[21] published in 1555 past Gabriele Giolito de' Ferrari.

Structure and story [edit]

The Divine One-act is composed of 14,233 lines that are divided into 3 cantiche (singular cantica) – Inferno (Hell), Purgatorio (Purgatory), and Paradiso (Paradise) – each consisting of 33 cantos (Italian plural canti). An initial canto, serving as an introduction to the poem and generally considered to be part of the first cantica, brings the full number of cantos to 100. Information technology is by and large accepted, all the same, that the first two cantos serve as a unitary prologue to the entire epic, and that the opening two cantos of each cantica serve as prologues to each of the three cantiche.[22] [23] [24]

The number 3 is prominent in the work, represented in part by the number of cantiche and their lengths. Additionally, the verse scheme used, terza rima, is hendecasyllabic (lines of eleven syllables), with the lines composing tercets according to the rhyme scheme aba, bcb, cdc, ded, ....[25] The full number of syllables in each tercet is thus 33, the aforementioned as the number of cantos in each cantica.

Written in the start person, the poem tells of Dante'southward journeying through the three realms of the expressionless, lasting from the nighttime before Good Fri to the Wed after Easter in the spring of 1300. The Roman poet Virgil guides him through Hell and Purgatory; Beatrice, Dante's ideal woman, guides him through Sky. Beatrice was a Florentine adult female he had met in babyhood and admired from afar in the style of the and then-fashionable courtly love tradition, which is highlighted in Dante'due south earlier work La Vita Nuova.[26]

The structure of the iii realms follows a common numerical blueprint of 9 plus 1, for a full of 10: 9 circles of the Inferno, followed by Lucifer independent at its bottom; 9 rings of Mount Purgatory, followed past the Garden of Eden crowning its summit; and the 9 celestial bodies of Paradiso, followed by the Empyrean containing the very essence of God. Within each group of nine, 7 elements correspond to a specific moral scheme, subdivided into 3 subcategories, while 2 others of greater particularity are added to full nine. For example, the seven deadly sins of the Catholic Church that are apple-pie in Purgatory are joined by special realms for the late repentant and the excommunicated by the church. The core seven sins within Purgatory represent to a moral scheme of dear perverted, subdivided into three groups corresponding to excessive beloved (Lust, Gluttony, Greed), deficient love (Sloth), and malicious dear (Wrath, Envy, Pride).[27]

In primal Italian republic's political struggle between Guelphs and Ghibellines, Dante was role of the Guelphs, who in general favored the Papacy over the Holy Roman Emperor. Florence'southward Guelphs split into factions around 1300 – the White Guelphs and the Black Guelphs. Dante was among the White Guelphs who were exiled in 1302 past the Lord-Mayor Cante de' Gabrielli di Gubbio, after troops under Charles of Valois entered the metropolis, at the request of Pope Boniface VIII, who supported the Black Guelphs. This exile, which lasted the rest of Dante's life, shows its influence in many parts of the Comedy, from prophecies of Dante'south exile to Dante's views of politics, to the eternal damnation of some of his opponents.[28]

The last word in each of the three cantiche is stelle ("stars").

Inferno [edit]

Gustave Doré's engravings illustrated the Divine Comedy (1861–1868); here Charon comes to ferry souls across the river Acheron to Hell.

The poem begins on the night earlier Good Friday in 1300, "halfway along our life's path" (Nel mezzo del cammin di nostra vita). Dante is thirty-v years onetime, half of the biblical lifespan of lxx (Psalms 89:10, Vulgate), lost in a dark wood (understood as sin),[29] [xxx] [31] assailed by beasts (a panthera leo, a leopard, and a she-wolf) he cannot evade and unable to notice the "straight way" (diritta via) – besides translatable as "right way" – to conservancy (symbolized by the sun backside the mountain). Conscious that he is ruining himself and that he is falling into a "depression place" (basso loco) where the sun is silent ('fifty sol tace), Dante is at last rescued by Virgil, and the two of them brainstorm their journey to the underworld. Each sin's punishment in Inferno is a contrapasso, a symbolic instance of poetic justice; for example, in Canto Xx, fortune-tellers and soothsayers must walk with their heads on backwards, unable to run across what is ahead, considering that was what they had tried to practise in life:

they had their faces twisted toward their haunches
and found information technology necessary to walk backward,
considering they could not run across ahead of them.
... and since he wanted so to see alee,
he looks backside and walks a astern path.[32]

Allegorically, the Inferno represents the Christian soul seeing sin for what it really is, and the three beasts correspond three types of sin: the cocky-indulgent, the fierce, and the malicious.[33] These three types of sin also provide the three main divisions of Dante'southward Hell: Upper Hell, outside the urban center of Dis, for the four sins of indulgence (lust, gluttony, avarice, anger); Circle seven for the sins of violence; and Circles eight and 9 for the sins of fraud and treachery. Added to these are two different categories that are specifically spiritual: Limbo, in Circle 1, contains the virtuous pagans who were not sinful but were ignorant of Christ, and Circle 6 contains the heretics who contradicted the doctrine and confused the spirit of Christ.[34]

Purgatorio [edit]

Dante gazes at Mount Purgatory in an allegorical portrait by Agnolo Bronzino, painted c. 1530

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. The Mount is on an island, the merely land in the Southern Hemisphere, created by the deportation of rock which resulted when Satan'due south fall created Hell[35] (which Dante portrays as existing underneath Jerusalem[36]). The mount has seven terraces, corresponding to the 7 deadly sins or "seven roots of sinfulness."[37] The classification of sin hither is more psychological than that of the Inferno, being based on motives, rather than deportment. It is besides drawn primarily from Christian theology, rather than from classical sources.[38] However, Dante's illustrative examples of sin and virtue describe on classical sources besides every bit on the Bible and on contemporary events.

Dearest, a theme throughout the Divine Comedy, is peculiarly important for the framing of sin on the Mountain of Purgatory. While the love that flows from God is pure, it can become sinful as it flows through humanity. Humans can sin past using love towards improper or malicious ends (Wrath, Envy, Pride), or using it to proper ends merely with love that is either not strong plenty (Sloth) or love that is besides strong (Animalism, Gluttony, Greed). Below the vii purges of the soul is the Dues-Purgatory, containing the Excommunicated from the church and the Late repentant who died, oft violently, before receiving rites. Thus the total comes to nine, with the improver of the Garden of Eden at the elevation, equaling 10.[39]

Allegorically, the Purgatorio represents the Christian life. Christian souls arrive escorted by an angel, singing In exitu State of israel de Aegypto. In his Letter to Cangrande, Dante explains that this reference to Israel leaving Egypt refers both to the redemption of Christ and to "the conversion of the soul from the sorrow and misery of sin to the country of grace."[twoscore] Appropriately, therefore, it is Easter Lord's day when Dante and Virgil arrive.

The Purgatorio is notable for demonstrating the medieval cognition of a spherical World. During the verse form, Dante discusses the different stars visible in the southern hemisphere, the altered position of the sun, and the various time zones of the World. At this stage information technology is, Dante says, sunset at Jerusalem, midnight on the River Ganges, and sunrise in Purgatory.

Paradiso [edit]

After an initial ascension, Beatrice guides Dante through the nine celestial spheres of Heaven. These are concentric and spherical, as in Aristotelian and Ptolemaic cosmology. While the structures of the Inferno and Purgatorio were based on different classifications of sin, the structure of the Paradiso is based on the 4 key virtues and the three theological virtues.

The seven lowest spheres of Heaven deal solely with the cardinal virtues of Prudence, Fortitude, Justice and Temperance. The first three spheres involve a deficiency of ane of the central virtues – the Moon, containing the inconstant, whose vows to God waned every bit the moon and thus lack fortitude; Mercury, containing the ambitious, who were virtuous for celebrity and thus lacked justice; and Venus, containing the lovers, whose love was directed towards another than God and thus lacked Temperance. The terminal iv incidentally are positive examples of the fundamental virtues, all led on past the Sun, containing the prudent, whose wisdom lighted the way for the other virtues, to which the others are leap (constituting a category on its ain). Mars contains the men of fortitude who died in the crusade of Christianity; Jupiter contains the kings of Justice; and Saturn contains the temperate, the monks who abided past the contemplative lifestyle. The seven subdivided into three are raised further by two more categories: the eighth sphere of the stock-still stars that contain those who accomplished the theological virtues of religion, hope and honey, and stand for the Church Triumphant – the total perfection of humanity, cleansed of all the sins and carrying all the virtues of heaven; and the ninth circle, or Primum Mobile (corresponding to the Geocentricism of Medieval astronomy), which contains the angels, creatures never poisoned by original sin. Topping them all is the Firmament, which contains the essence of God, completing the nine-fold division to 10.

Dante meets and converses with several great saints of the Church building, including Thomas Aquinas, Bonaventure, Saint Peter, and St. John. The Paradiso is consequently more than theological in nature than the Inferno and the Purgatorio. However, Dante admits that the vision of heaven he receives is merely the one his man eyes permit him to see, and thus the vision of heaven found in the Cantos is Dante's personal vision.

The Divine One-act finishes with Dante seeing the Triune God. In a wink of agreement that he cannot limited, Dante finally understands the mystery of Christ's divinity and humanity, and his soul becomes aligned with God's beloved:[41]

But already my desire and my will
were being turned like a wheel, all at 1 speed,
by the Dear which moves the sun and the other stars.[42]

History [edit]

Manuscripts [edit]

Co-ordinate to the Italian Dante Society, no original manuscript written by Dante has survived, although there are many manuscript copies from the 14th and 15th centuries – some 800 are listed on their site.[43]

Early on printed editions [edit]

First edition to name the verse form Divina Comedia, 1555

Illustration of Lucifer in the start fully illustrated impress edition. Woodcut for Inferno, canto 34. Pietro di Piasi, Venice, 1491.

The first printed edition was published in Foligno, Italy, by Johann Numeister and Evangelista Angelini da Trevi on 11 April 1472.[44] Of the 300 copies printed, fourteen still survive. The original printing press is on display in the Oratorio della Nunziatella in Foligno.

Early printed editions
Engagement Championship Place Publisher Notes
1472 La Comedia di Dante Alleghieri Foligno Johann Numeister and Evangelista Angelini da Trevi First printed edition (or editio princeps)
1477 La Commedia Venice Wendelin of Speyer
1481 Comento di Christophoro Landino fiorentino sopra la Comedia di Dante Alighieri Florence Nicolaus Laurentii With Cristoforo Landino's commentary in Italian, and some engraved illustrations by Baccio Baldini after designs past Sandro Botticelli
1491 Comento di Christophoro Landino fiorentino sopra la Comedia di Dante Alighieri Venice Pietro di Piasi Start fully illustrated edition
1502 Le terze rime di Dante Venice Aldus Manutius
1506 Commedia di Dante insieme con uno diagolo circa el sito forma et misure dello inferno Florence Philippo di Giunta
1555 La Divina Comedia di Dante Venice Gabriel Giolito First use of "Divine" in title

Thematic concerns [edit]

The Divine Comedy can be described just as an allegory: each canto, and the episodes therein, can contain many culling meanings. Dante's apologue, notwithstanding, is more complex, and, in explaining how to read the poem (run into the Letter of the alphabet to Cangrande)[45] he outlines other levels of significant also the allegory: the historical, the moral, the literal, and the anagogical.

The structure of the poem is also quite complex, with mathematical and numerological patterns distributed throughout the work, particularly threes and nines. The verse form is frequently lauded for its particularly human qualities: Dante'south good 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 utilize of existent characters, according to Dorothy Sayers in her introduction to her translation of the 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 dandy many subjects of the utmost importance, thus widening its range and increasing its variety."[46]

Dante called the verse form "Comedy" (the describing word "Divine" was added later, in the 16th century) because poems in the ancient world were classified equally High ("Tragedy") or Low ("One-act").[47] Low poems had happy endings and were written in everyday language, whereas Loftier poems treated more serious matters and were written in an elevated way. Dante was i of the starting time in the Heart Ages to write of a serious subject field, the Redemption of humanity, in the depression and "vulgar" Italian language and not the Latin one might expect for such a serious topic. Boccaccio's account that an early version of the poem was begun by Dante in Latin is yet controversial.[48] [49]

Scientific themes [edit]

Although the Divine One-act is primarily a religious poem, discussing sin, virtue, and theology, Dante as well discusses several elements of the science of his twenty-four hour period (this mixture of science with poetry has received both praise and criticism over the centuries[50]). The Purgatorio repeatedly refers to the implications of a spherical Earth, such as the unlike stars visible in the southern hemisphere, the altered position of the sun, and the diverse fourth dimension zones of the Earth. For case, at sunset in Purgatory information technology is midnight at the Ebro, dawn in Jerusalem, and apex on the River Ganges:[51]

Merely as, there where its Maker shed His blood,
the dominicus shed its first rays, and Ebro lay
beneath high Libra, and the 9th 60 minutes's rays

were scorching Ganges' waves; so here, the sun
stood at the point of day'due south departure when
God'due south angel – happy – showed himself to united states.[52]

Dante travels through the eye of the Earth in the Inferno, and comments on the resulting alter in the direction of gravity in Canto XXXIV (lines 76–120). A little earlier (XXXIII, 102–105), he queries the beingness of current of air in the frozen inner circle of hell, since information technology has no temperature differentials.[53]

Inevitably, given its setting, the Paradiso discusses astronomy extensively, but in the Ptolemaic sense. The Paradiso also discusses the importance of the experimental method in science, with a detailed example in lines 94–105 of Canto II:

Yet an experiment, were you to try it,
could free you from your cavil and the source
of your arts' course springs from experiment.

Taking three mirrors, place a pair of them
at equal altitude from you lot; fix the third
midway betwixt those 2, but further back.

Then, turning toward them, at your back accept placed
a lite that kindles those three mirrors and
returns to you, reflected past them all.

Although the image in the uttermost glass
will exist of lesser size, there you volition see
that it must lucifer the brightness of the rest.[54]

A briefer example occurs in Canto XV of the Purgatorio (lines xvi–21), where Dante points out that both theory and experiment ostend that the angle of incidence is equal to the angle of reflection. Other references to scientific discipline in the Paradiso include descriptions of clockwork in Canto XXIV (lines 13–18), and Thales' theorem about triangles in Canto Xiii (lines 101–102).

Galileo Galilei is known to accept lectured on the Inferno, and it has been suggested that the poem may take influenced some of Galileo'south own ideas regarding mechanics.[55]

Influences [edit]

Classical [edit]

Without access to the works of Homer, Dante used Virgil, Lucan, Ovid, and Statius as the models for the fashion, history, and mythology of the One-act.[56] This is most obvious in the instance of Virgil, who appears as a mentor character throughout the commencement ii canticles and who has his epic The Aeneid praised with linguistic communication Dante reserves elsewhere for Scripture.[57] Ovid is given less explicit praise in the poem, but as well Virgil, Dante uses Ovid as a source more than any other poet, mostly through metaphors and fantastical episodes based on those in The Metamorphoses.[58] Less influential than either of the two are Statius and Lucan, the latter of whom has only been given proper recognition every bit a source in the Divine One-act in the twentieth century.[59]

As well Dante's fellow poets, the classical figure that most influenced the One-act is Aristotle. Dante congenital upwardly the philosophy of the Comedy with the works of Aristotle as a foundation, merely as the scholastics used Aristotle every bit the basis for their thinking. Dante knew Aristotle straight from Latin translations of his works and indirectly quotations in the works of Albert Magnus.[60] Dante even acknowledges Aristotle'southward influence explicitly in the poem, specifically when Virgil justifies the Inferno'due south structure by citing the Nicomachean Ethics.[61]

Christian [edit]

The Comedy 's language is often derived from the phraseology of the Vulgate. This was the but translation of the Bible Dante had access to, as it was one the vast majority of scribes were willing to copy during the Centre Ages. This includes five hundred or so direct quotes and references Dante derives from the Bible (or his retentiveness of it). Dante as well treats the Bible equally a final authority on whatsoever matter, including on subjects scripture only approaches allegorically.[62]

The Divine One-act is too a product of Scholasticism, especially as expressed by St. Thomas Aquinas.[63] [64] This influence is most pronounced in the Paradiso, where the text'south portrayals of God, the beatific vision, and substantial forms all align with scholastic doctrine.[65] Information technology is too in the Paradiso that Aquinas and boyfriend scholastic St. Bonaventure appear as characters, introducing Dante to all of Heaven'southward wisest souls. Despite all this, there are issues on which Dante diverges from the scholastic doctrine, such as in his unbridled praise for poetry.[66]

Islamic [edit]

Dante lived in a Europe of substantial literary and philosophical contact with the Muslim world, encouraged past such factors as Averroism ("Averrois, che'fifty gran comento feo" Commedia, Inferno, IV, 144, meaning "Averrois, who wrote the great comment") and the patronage of Alfonso X of Castile. Of the twelve wise men Dante meets in Canto X of the Paradiso, Thomas Aquinas and, even more so, Siger of Brabant were strongly influenced past Arabic commentators on Aristotle.[67] Medieval Christian mysticism also shared the Neoplatonic influence of Sufis such as Ibn Arabi. Philosopher Frederick Copleston argued in 1950 that Dante'due south respectful treatment of Averroes, Avicenna, and Siger of Brabant indicates his acknowledgement of a "considerable debt" to Islamic philosophy.[67]

In 1919, Miguel Asín Palacios, a Spanish scholar and a Catholic priest, published La Escatología musulmana en la Divina Comedia (Islamic Eschatology in the Divine Comedy), an account of parallels between early Islamic philosophy and the Divine One-act. Palacios argued that Dante derived many features of and episodes nearly the hereafter from the spiritual writings of Ibn Arabi and from the Isra and Mi'raj or nighttime journey of Muhammad to heaven. The latter is described in the ahadith and the Kitab al Miraj (translated into Latin in 1264 or before long before[68] as Liber Scalae Machometi, "The Book of Muhammad's Ladder"), and has pregnant similarities to the Paradiso, such as a sevenfold division of Paradise, although this is not unique to the Kitab al Miraj or Islamic cosmology.[69]

Many scholars have not been satisfied that Dante was influenced by the Kitab al Miraj. The 20th century Orientalist Francesco Gabrieli expressed skepticism regarding the claimed similarities, and the lack of evidence of a vehicle through which it could take been transmitted to Dante. Notwithstanding, while dismissing the probability of some influences posited in Palacios' work,[70] Gabrieli conceded that it was "at least possible, if not probable, that Dante may accept known the Liber Scalae and have taken from it sure images and concepts of Muslim eschatology". Shortly before her death, the Italian philologist Maria Corti pointed out that, during his stay at the court of Alfonso X, Dante's mentor Brunetto Latini met Bonaventura de Siena, a Tuscan who had translated the Kitab al Miraj from Arabic into Latin. Corti speculates that Brunetto may have provided a copy of that work to Dante.[71] René Guénon, a Sufi convert and scholar of Ibn Arabi, rejected in The Esoterism of Dante the theory of his influence (direct or indirect) on Dante.[72] Palacios' theory that Dante was influenced by Ibn Arabi was satirized past the Turkish academic Orhan Pamuk in his novel The Black Volume.[73]

Literary influence in the English-speaking globe and beyond [edit]

A detail from 1 of Sandro Botticelli's illustrations for Inferno, Canto XVIII, 1480s. Silverpoint on parchment, completed in pen and ink.

The Divine Comedy was not always likewise-regarded as it is today. Although recognized as a masterpiece in the centuries immediately post-obit its publication,[74] the work was largely ignored during the Enlightenment, with some notable exceptions such as Vittorio Alfieri; Antoine de Rivarol, who translated the Inferno into French; and Giambattista Vico, who in the Scienza nuova and in the Giudizio su Dante inaugurated what would subsequently get the romantic reappraisal of Dante, juxtaposing him to Homer.[75] The Comedy was "rediscovered" in the English-speaking world by William Blake – who illustrated several passages of the epic – and the Romantic writers of the 19th century. Later authors such as T. Southward. Eliot, Ezra Pound, Samuel Beckett, C. Southward. Lewis and James Joyce accept drawn on it for inspiration. The poet Henry Wadsworth Longfellow was its get-go American translator,[76] and modern poets, including Seamus Heaney,[77] Robert Pinsky, John Ciardi, Due west. S. Merwin, and Stanley Lombardo, have too produced translations of all or parts of the book. In Russia, beyond Pushkin's translation of a few tercets,[78] Osip Mandelstam's late poetry has been said to bear the marking of a "tormented meditation" on the One-act.[79] In 1934, Mandelstam gave a modern reading of the verse form in his labyrinthine "Conversation on Dante".[80] In T. S. Eliot'southward estimation, "Dante and Shakespeare divide the world between them. At that place is no tertiary."[81] For Jorge Luis Borges the Divine One-act was "the best book literature has achieved".[82]

English translations [edit]

The Divine Comedy has been translated into English more times than any other language, and new English translations of the Divine Comedy proceed to be published regularly. Notable English translations of the consummate verse form include the post-obit.[83]

Yr Translator Notes
1805–1814 Henry Francis Cary An older translation, widely available online.
1867 Henry Wadsworth Longfellow Unrhymed terzines. The first U.S. translation, raising American interest in the poem. It is still widely available, including online.
1891–1892 Charles Eliot Norton Prose translation used by Swell Books of the Western World. Available online at Projection Gutenberg.
1933–1943 Laurence Binyon Terza rima. Translated with assistance from Ezra Pound. Used in The Portable Dante (Viking, 1947).
1949–1962 Dorothy L. Sayers Translated for Penguin Classics, intended for a wider audition, and completed by Barbara Reynolds.
1969 Thomas One thousand. Bergin Cast in bare verse with illustrations by Leonard Baskin.[84]
1954–1970 John Ciardi His Inferno was recorded and released by Folkways Records in 1954.
1970–1991 Charles S. Singleton Literal prose version with extensive commentary; 6 vols.
1981 C. H. Sisson Available in Oxford World's Classics.
1980–1984 Allen Mandelbaum Available online.
1967–2002 Mark Musa An culling Penguin Classics version.
2000–2007 Robert and Jean Hollander Online as part of the Princeton Dante Projection.
2002–2004 Anthony One thousand. Esolen Modern Library Classics edition.
2006–2007 Robin Kirkpatrick A third Penguin Classics version, replacing Musa's.
2010 Burton Raffel A Northwestern World Classics version.
2013 Clive James A poetic version in quatrains.

A number of other translators, such equally Robert Pinsky, have translated the Inferno only.

In the arts [edit]

The Divine One-act has been a source of inspiration for countless artists for almost vii centuries. At that place are many references to Dante'south work in literature. In music, Franz Liszt was one of many composers to write works based on the Divine Comedy. In sculpture, the work of Auguste Rodin includes themes from Dante, and many visual artists have illustrated Dante'due south work, as shown by the examples in a higher place. In that location accept too been many references to the Divine Comedy in cinema, television, comics and video games.

In 2021, The Royal Ballet danced The Dante Project, its three parts representing the three books of the Divine Comedy. It was choreographed by Wayne McGregor to new music by Thomas Adès, with set and costumes past Tacita Dean.[86]

Gallery [edit]

Series of woodcuts illustrating Dante's Hell by Antonio Manetti (1423–1497):
From Dialogo di Antonio Manetti, cittadino fiorentino, circa al sito, forma, et misure dello inferno di Dante Alighieri poeta excellentissimo (Florence: F. Giunta, 1510?)

  • "Everything Reduced to One Program", 1506

  • "The Bedroom of Hell", 1506

  • "Overview of Hell", 1506

  • "The First Five Circles", 1506

  • "Circles Six and Seven", 1506

  • "The Lair of Geryon", 1506

  • "The Tomb of Match", 1506

La materia della Divina commedia di Dante Alighieri, dichiarata in VI tavole, past Michelangelo Caetani (1804–1882)

  • 1855 title page

  • Plate I: "Overview of the Divine Comedy"

  • Plate Ii: "The Ordering of Hell"

  • Plate 3: "Map of Hell"

  • Plate IV: "Cross Section of Hell"

  • Plate V: "The Ordering of Purgatory"

  • Plate VI: "The Ordering of Paradise"

Come across also [edit]

  • Allegory in the Middle Ages
  • Volume of Arda Viraf
  • List of cultural references in Divine Comedy
  • Paradise Lost
  • Seven Heavens
  • Theological fiction

Citations [edit]

  1. ^ For example, Encyclopedia Americana, 2006, Vol. xxx. p. 605: "the greatest single work of Italian literature;" John Julius Norwich, The Italians: History, Art, and the Genius of a People, Abrams, 1983, p. 27: "his tremendous poem, still after half dozen and a half centuries the supreme work of Italian literature, remains – later on the legacy of ancient Rome – the grandest single element in the Italian heritage;" and Robert Reinhold Ergang, The Renaissance, Van Nostrand, 1967, p. 103: "Many literary historians regard the Divine Comedy as the greatest work of Italian literature. In globe literature it is ranked as an epic poem of the highest society."
  2. ^ Bloom, Harold (1994). The Western Canon . ISBN9780151957477. Come across also Western canon for other "canons" that include the Divine Comedy.
  3. ^ See Lepschy, Laura; Lepschy, Giulio (1977). The Italian Language Today. or any other history of Italian language.
  4. ^ a b Lansing, Richard. The Dante Encyclopedia. p. 181.
  5. ^ Peter E. Bondanella, The Inferno, Introduction, p. xliii, Barnes & Noble Classics, 2003, ISBN 1-59308-051-four: "the cardinal fiction of the Divine Comedy is that the poem is true."
  6. ^ Dorothy 50. Sayers, Hell, notes on page 19.
  7. ^ Lansing, Richard. The Dante Encyclopedia. p. 273.
  8. ^ Lansing, Richard. The Dante Encyclopedia. p. 481.
  9. ^ Lansing, Richard. The Dante Encyclopedia. p. 298.
  10. ^ Lansing, Richard. The Dante Encyclopedia. p. 214.
  11. ^ Lansing, Richard. The Dante Encyclopedia. p. 56.
  12. ^ Charles Allen Dinsmore, The Teachings of Dante (Ayer, 1970), p. 38, ISBN 0-8369-5521-8.
  13. ^ The Fordham Monthly Fordham University, Vol. XL, Dec. 1921, p. 76
  14. ^ Approaches to pedagogy Dante'due south Divine comedy . Slade, Carole., Cecchetti, Giovanni, 1922–1998. New York, N.Y.: Modern Linguistic communication Clan of America. 1982. ISBN978-0873524780. OCLC 7671339. {{cite book}}: CS1 maint: others (link)
  15. ^ a b Lansing, Richard. The Dante Encyvlopedia. p. 743.
  16. ^ Lansing, Richard. The Dante Encyclopedia. p. 93.
  17. ^ Lansing, Richard. The Dante Encyclopedia. p. 99.
  18. ^ Michael Dirda, Introduction to Auerbach's Dante: Poet of the Secular World (New York: New York Review Books, 2007), pp. viii-ix. ISBN 978-1-59017-219-three
  19. ^ "Divina Commedia". Enciclopedia Italiana (in Italian). Enciclopedia Italiana. Archived from the original on 19 February 2021. Retrieved 19 February 2021.
  20. ^ Hutton, Edward (1910).Giovanni Boccaccio, a Biographical Report. p. 273.
  21. ^ Ronnie H. Terpening, Lodovico Dolce, Renaissance Man of Letters (Toronto, Buffalo, London: Academy of Toronto Press, 1997), p. 166.
  22. ^ Dante The Inferno A Verse Translation by Professor Robert and Jean Hollander p. 43
  23. ^ Epist. XIII 43 to 48
  24. ^ Wilkins E.H The Prologue to the Divine Comedy Annual Study of the Dante Society, pp. 1–seven.
  25. ^ Kaske, Robert Earl, et al. Medieval Christian Literary Imagery: A Guide to Estimation. Toronto: Toronto UP, 1988. p. 164
  26. ^ Shaw 2014, pp. xx, 100–101, 108.
  27. ^ Eiss 2017, p. 8.
  28. ^ Trone 2000, pp. 362–364.
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  33. ^ Dorothy L. Sayers, Purgatory, notes on p. 75.
  34. ^ Carlyle-Okey-Wicksteed, Divine Comedy, "Notes to Dante'southward Inferno"
  35. ^ Inferno, Canto 34, lines 121–126.
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  37. ^ Dorothy L. Sayers, Purgatory, Introduction, pp. 65–67 (Penguin, 1955).
  38. ^ Robin Kirkpatrick, Purgatorio, Introduction, p. xiv (Penguin, 2007).
  39. ^ Carlyle-Oakey-Wickstead, Divine One-act, "Notes on Dante's Purgatory.
  40. ^ "The Letter to Can Grande," in Literary Criticism of Dante Alighieri, translated and edited by Robert S. Haller (Lincoln: University of Nebraska Printing, 1973), p. 99
  41. ^ Dorothy L. Sayers, Paradise, notes on Canto XXXIII.
  42. ^ Paradiso, Canto XXXIII, lines 142–145, C. H. Sisson translation.
  43. ^ "Elenco Codici". Dante Online . Retrieved 5 August 2009.
  44. ^ Christopher Kleinhenz, Medieval Italy: An Encyclopedia, Book 1, Routledge, 2004, ISBN 0-415-93930-5, p. 360.
  45. ^ "Epistle to Can Grande". faculty.georgetown.edu . Retrieved 20 October 2014.
  46. ^ Dorothy L. Sayers, Hell, Introduction, p. 16 (Penguin, 1955).
  47. ^ "World History Encyclopedia".
  48. ^ Boccaccio also quotes the initial triplet:"Ultima regna canam fluvido contermina mundo, / spiritibus quae lata patent, quae premia solvunt /pro meritis cuicumque suis". For translation and more, see Guyda Armstrong, Review of Giovanni Boccaccio. Life of Dante. J. G. Nichols, trans. London: Hesperus Press, 2002.
  49. ^ Peri, Hiram (1955). "The Original Program of the Divine Comedy". Journal of the Warburg and Courtauld Institutes. 18 (3/4): 189–210. doi:10.2307/750179. JSTOR 750179.
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  52. ^ Purgatorio, Canto XXVII, lines 1–half-dozen, Mandelbaum translation.
  53. ^ Dorothy 50. Sayers, Inferno, notes on p. 284.
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Bibliography [edit]

  • Eiss, Harry (2017). Seeking God in the Works of T.Southward. Eliot and Michelangelo. New Castle upon Tyne: Cambridge Scholars. ISBN978-1-44384-390-4.
  • Shaw, Prue (2014). Reading Dante: From Here to Eternity. New York: Liveright Publishing. ISBN978-1-63149-006-4.
  • Trone, George Andrew (2000). "Exile". In Lansing, Richard (ed.). The Dante Encyclopedia. London and New York: Routledge. ISBN978-0-41587-611-vii.

Further reading [edit]

  • Ziolkowski, Jan Thousand. (2015). Dante and Islam. Fordham University Press, New York. ISBN 0823263878.

External links [edit]

  • Divine Comedy at Standard Ebooks
  • Princeton Dante Projection Website that offers the complete text of the Divine One-act (and Dante's other works) in Italian and English along with sound accompaniment in both languages. Includes historical and interpretive annotation.
  • (in Italian) Full text of the Commedia
  • Dante Dartmouth Project: Full text of more than than lxx Italian, Latin, and English language commentaries on the Commedia, ranging in date from 1322 (Iacopo Alighieri) to the 2000s (Robert Hollander)
  • A Dictionary of the Proper Names and Notable Matters in the Works of Dante by Paget Toynbee, London, The Clarendon Press (1898).
Audio
  • Lino Pertile's reading, Professor of Romance Languages and Literatures, Harvard Academy.
  • Divine Comedy public domain audiobook at LibriVox (in English and Italian)

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Source: https://en.wikipedia.org/wiki/Divine_Comedy

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