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Divine Comedy, by Dante Alighieri
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The Divine Comedy is composed of 14,233 lines that are divided into three canticas (Italian plural cantiche) – 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 total number of cantos to 100. It is generally accepted, however, 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 canticas
- Sales Rank: #1690442 in Books
- Published on: 2016-10-25
- Original language: English
- Dimensions: 11.00" h x .57" w x 8.50" l,
- Binding: Paperback
- 250 pages
About the Author
Dante Alighieri was born in 1265 in Florence to a family of minor nobility. He entered into Florentine politics in 1295, but he and his party were forced into exile in a hostile political climate in 1301. Taking asylum in Ravenna late in life, Dante completed his Divine Commedia, considered one of the most important works of Western literature, before his death in 1321.
Henry Wadsworth Longfellow was born in 1807 in Portland, Maine, and he became a professor of modern languages at Harvard. His most famous narrative poems include The Song of Hiawatha, Paul Reveres Ride, "The Village Blacksmith," "The Wreck of the Hesperus." From his friend Nathaniel Hawthorne, Longfellow got a brief outline of a story from which he composed one of his most favorite poems, 'Evangeline'. The original story had Evangeline wandering about New England in search of her bridegroom. One of the first poets to take the landscape and stories of North America as his subjects, Longfellow became immensely popular all over the world, and he was the first American commemorated in the Poets Corner of Westminster Abbey. He was given honorary degrees at the great universities of Oxford and Cambridge, invited to Windsor by Queen Victoria, and called by request upon the Prince of Wales. He was also chosen a member of the Russian Academy of Sciences and of the Spanish Academy. He died on March 24, 1882.
Most helpful customer reviews
7 of 7 people found the following review helpful.
Forget Virgil or Beatrice ... I'll take Mark Musa!
By C. E. Stevens
Virgil and Beatrice are Dante's primary guides through the Divine Comedy, but I thank the heavens that I chose Mark Musa as my companion through this journey, as I could hope for no more faithful and illuminating guide through Dante's thought-provoking, fascinating, but often difficult masterpiece. About the Comedy, I can say little more than what others have already said better than I could anyway. I personally found the Inferno and Purgatory to be the more interesting books, both in terms of the surface-level action as well as the higher-level ideas and allegories ... Paradise was a little more of a challenge to get through--after graduating from the Earthly Paradise, I felt like I pretty much "got it" already ... Paradise felt a little superfluous, if I may dare to criticize a classic--but after journeying that far, one must go all the way. I just can't say enough about Musa's clear translation and very helpful notes, which helped me through more than a few impenetrable lines, stanzas, and entire cantos along the way.
The Comedy is a masterpiece of world literature, a work that should be read by all, but one that I had put off for quite some time due to the intimidating nature of its length and subject matter--worried, perhaps, that the famous "Abandon all hope, ye who enter here" warning applied as much to the general reader of Dante as to the souls of the damned. Yet, thanks to Musa's help, I found the Comedy to be a pleasantly entertaining and enlightening work, and perhaps even more surprisingly, an exciting "page turner" as the classics go.
3 of 3 people found the following review helpful.
Great rendition for the detail curious reader
By Robert Johnston
So we think we mostly know the story but rarely does one know the whole story without muscling your way through the read. This is dense, long term, situational reading. The whole story includes the ubiquitous `Inferno' plus the far less known `Pugatorio' and `Paradiso'. Ciardi's deeply footnoted version, I'm certain, to a 100% probability, must contain at least 1 error of some relevance to some reader, but it's certainly adequate and far more curious than my previous reads.
Every reader draws his own conclusions and opinions and they are probably all correct. In the context of John Ciardi's translation, it cannot be overstated how meticulous this translation actually is. The Divine Comedy is the `first of its kind' exposition of the Tuscan dialect that much later emerges as the consolidated `Italian' language. Dante's syntax, meanings and nearly everything linguistic are 21st century translationally imputed into this `first of its kind'. The debates for perfection can never be ended.
So, opinions? ... here's mine ...
The `Divine Comedy' is a relentless satirical, pseudo-theological exposition of super-epic length. Context and setting are everything. The 14th Century was perhaps the single most catastrophic century for historical Western humankind and so Dante relates his world as an observer to the human cataclysm erupting all around him day after stinking day. A first-time read of Dante ... without some historical perspective on time and place, will leave the reader confused and inevitably horribly bored. That Dante skewers his living `enemies' in some level of damnation's treadmill is the `commedia'. I might suggest this historical pre-read A Distant Mirror: The Calamitous 14th Century
Some imagine there's theology here. Some even imagine Christianity might be defined here. That notion is unfortunately absurd and very unfortunately plays into some readers mind as `Christian' to confuse scriptural vs the imaginings of Dante's fantasy. Is Christianity defined by Tom Hanks in the DaVinci Code? Of course not. Dante's epic here is nightmare scary stuff intended to keep people awake at night ... an afterlife of eternally walking the treadmill to 'paradiso' is grim indeed. A chance error of Dante's perception of sin here or there and the treadmill of damnation-to-paradise is right there to snatch you. It's fun but it's not Christianity.
John Ciardi's annotation makes this translation entertaining. You will wear out Wikipedia searching for the story of the devilishly tormented and transitionally divine characters. These are generally obscure folks of no otherwise historical note then to be mentioned by Dante. Hypocrisy reigns supreme and the fundamental answers to the great 'unknowns' of the faith are dreamed up by Dante Alighieri and rendered here by Ciardi.
Enjoy the show!
1 of 1 people found the following review helpful.
I'm glad I chose this version
By zanyone02
I wanted to read this for a while. Before I bought it though I looked at a lot of copies, even free. A lot of reviews said that this translation by John Ciardi was one of the best. I found it easier to read than the free version I had also downloaded. It also has notes inside of it that helps to explain some of the things that happening in case you get confused. I really appreciated John Ciardi's beginning section, "How to read Dante", in the book. It helped me to catch on to things quicker. I also liked that Ciardi explained his translation process. It made it easier to read in a way. I have not made it through all of it, but I have enjoyed all that I have read. I have also understood it. For comparison, I could not follow the other versions I downloaded. Their Cantos were in paragraphs and sometimes the wording made no sense. Overall - If you want to read The Divine Comedy... I would suggest this version translated by John Ciardi.
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