This brilliant new verse translation by Allen Mandelbaum captures the consummate beauty of the third and last part of Dante's Divine Comedy. The Paradiso is a luminous poem of love and light, of optics, angelology, polemics, prayer, prophecy, and transcendent experience. As Dante ascends to the Celestial Rose, in the tenth and final heaven, all the spectacle and splendor of a great poet's vision now becomes accessible to the modern reader in this highly acclaimed, superb dual language edition. With extensive notes and commentary.
Robert Durling's spirited new prose translation of the Paradiso completes his masterful rendering of the Divine Comedy. Durling's earlier translations of the Inferno and the Purgatorio garnered high praise, and with this superb version of the Paradiso readers can now traverse the entirety of Dante's epic poem of spiritual ascent with the guidance of one of the greatest living Italian-to-English translators. Reunited with his beloved Beatrice in the Purgatorio, in the Paradiso the poet-narrator journeys with her through the heavenly spheres and comes to know "the state of blessed souls after death." As with the previous volumes, the original Italian and its English translation appear on facing pages. Readers will be drawn to Durling's precise and vivid prose, which captures Dante's extraordinary range of expression--from the high style of divine revelation to colloquial speech, lyrical interludes, and scornful diatribes against corrupt clergy. This edition boasts several unique features. Durling's introduction explores the chief interpretive issues surrounding the Paradiso, including the nature of its allegories, the status in the poem of Dante's human body, and his relation to the mystical tradition. The notes at the end of each canto provide detailed commentary on historical, theological, and literary allusions, and unravel the obscurity and difficulties of Dante's ambitious style . An unusual feature is the inclusion of the text, translation, and commentary on one of Dante's chief models, the famous cosmological poem by Boethius that ends the third book of his Consolation of Philosophy. A substantial section of Additional Notes discusses myths, symbols, and themes that figure in all three cantiche of Dante's masterpiece. Finally, the volume includes a set of indexes that is unique in American editions, including Proper Names Discussed in the Notes (with thorough subheadings concerning related themes), Passages Cited in the Notes, and Words Discussed in the Notes, as well as an Index of Proper Names in the text and translation. Like the previous volumes, this final volume includes a rich series of illustrations by Robert Turner.
A stunning 3-in-1 deluxe edition of one of the great works of Western literature An epic masterpiece and a foundational work of the Western canon, The Divine Comedy describes Dante's descent into Hell with Virgil as his guide; his ascent of Mount Purgatory and reunion with his dead love, Beatrice; and, finally, his arrival in Heaven. Examining questions of faith, desire, and enlightenment and furnished with semiautobiographical details, Dante's poem is a brilliantly nuanced and moving allegory of human redemption. This acclaimed blank verse translation is published here for the first time in a one-volume edition. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
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Presents a verse translation of Dante's "Inferno" along with ten essays that analyze the different interpretations of the first canticle of the "Divine Comedy."
Vertical Readings in Dante’s Comedy is a reappraisal of the poem by an international team of thirty-four scholars. Each vertical reading analyses three same-numbered cantos from the three canticles: Inferno i, Purgatorio i and Paradiso i; Inferno ii, Purgatorio ii and Paradiso ii; etc. Although scholars have suggested before that there are correspondences between same-numbered cantos that beg to be explored, this is the first time that the approach has been pursued in a systematic fashion across the poem. This collection – to be issued in three volumes – offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante. The volume has its origin in a series of thirty-three public lectures held in Trinity College, the University of Cambridge (2012-2016) which can be accessed at the ‘Cambridge Vertical Readings in Dante’s Comedy’ website.
Describing Dante's descent into Hell midway through his life 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 doomed souls including the pagan Aeneas, the liar Odysseus, the suicide Cleopatra, and his own political enemies, damned for their deceit. Led by leering demons, the poet must ultimately journey with Virgil to the deepest level of all. For it is only by encountering Satan, in the heart of Hell, that he can truly understand the tragedy of sin.
divdivA towering figure in world literature, Dante wrote his great epic poem Commedia in the early fourteenth century. The work gained universal acclaim and came to be known as La Divina Commedia, or The Divine Comedy. Giuseppe Mazzotta brings Dante and his masterpiece to life in this exploration of the man, his cultural milieu, and his endlessly fascinating works.div /DIVdivBased on Mazzotta’s highly popular Yale course, this book offers a critical reading of The Divine Comedy and selected other works by Dante. Through an analysis of Dante’s autobiographical Vita nuova, Mazzotta establishes the poetic and political circumstances of The Divine Comedy. He situates the three sections of the poem—Inferno, Purgatory, Paradise—within the intellectual and social context of the late Middle Ages, and he explores the political, philosophical, and theological topics with which Dante was particularly concerned./DIV/DIV/DIV
A sequel to Philip Terry's Dante's Inferno (2014), where Dante relocates to the University of Essex, here the action shifts from Dante's Island of Purgatory to Mersea Island, in Essex still, where the poet and his guide Ted Berrigan climb a mountain made out of Flexible Rock Substitute (FRS). Dante's artists are replaced with contemporary artists and artists-in-residence on the Essex Alp, including Grayson Perry, Rachel Whiteread and Damien Hirst. Hirst, an example of pride, is encountered not carrying a rock on his back, as in Dante, but carrying a washing-machine, a Siemens Avantgarde, which runs through its spin cycle as he carries it. Other characters encountered include Christopher Marlowe, Boris Johnson, Lady Diana, Jean Paul Getty, Hilary Clinton, Allen Ginsberg, Samuel Beckett, Martin McGuinness, Ciaran Carson and Anoushka S hankar. On the final terrace, the poet, accompanied by Berrigan and poet Tim Atkins, passes through a wall of flames to reach Dante's Paradise, here modelled on the Eden Project, where the poet meets his Beatrice, Marina Warner. The poem comes to a climax with an interview with Marina Warner in the LRB Tent, followed by a gig from the Pogues, for which Shane MacGowan has been brought up from Hell on an Arts Council 'Exceptional Talent' scheme.
