The Divine Comedy (Classic Books on Cassettes Collection) [UNABRIDGED] [Audiobook] [Audio Cassette]

Dante Alighieri (Author), Grover Gardner (Narrator)

Book Description

Publication Date: January 30, 1992

This unique poetic translation by Herbert A. Kenny, historian and poet, is the first that incorporates into the text the Biblical, theological and historical allusions of the greatest poem in Christendom. Now it can be experienced without a glossary or cumbersome notes as the liquid lines take you through the horrors of the Inferno, the mysteries of the Purgatorio and the glories of the Paradiso. Seven 90-minute cassettes and one 60.

Editorial Reviews

Review

Long narrative poem originally titled Commedia (about 1555 printed as La divina commedia) written about 1310-14 by Dante. The work is divided into three major sections--Inferno, Purgatorio, and Paradiso--which trace the journey of a man from darkness and error to the revelation of the divine light, culminating in the beatific vision of God. It is usually held to be one of the world's greatest works of literature. The plot of The Divine Comedy is simple: a man is miraculously enabled to visit the souls in Hell, Purgatory, and Paradise. He has two guides: Virgil, who leads him through the Inferno and Purgatorio, and Beatrice, who introduces him to Paradiso. Through these fictional encounters taking place from Good Friday evening in 1300 through Easter Sunday and slightly beyond, Dante the character learns of the exile that is awaiting him (an actual exile that had already occurred at the time of writing). This device allowed Dante not only to create a story out of his exile but also to explain how he came to cope with personal calamity and to offer suggestions for the resolution of Italy's troubles as well. Thus, Dante's story is historically specific as well as paradigmatic; his exile serves as a microcosm of the problems of a country, and it also becomes representative of the Fall of Man. The basic structural component of The Divine Comedy is the canto. The poem consists of 100 cantos, which are grouped into the three major sections, or canticles. Technically there are 33 cantos in each canticle and one additional canto, contained in the Inferno, that serves as an introduction to the entire poem. For the most part the cantos range from 136 to 151 lines. The poem's rhyme scheme is the terza rima (aba, bcb, cdc, etc.) Thus, the divine number three is present in every part of the work. Dante adopts the classical convention of a visit to the land of the dead, but he adapts it to a Christian worldview by beginning his journey there. The Inferno represents a false start during which Dante, the character, must be disabused of harmful values that somehow prevent him from rising above his fallen world. Despite the regressive nature of the Inferno, Dante's meetings with the damned are among the most memorable moments of the poem: the Neutrals, the virtuous pagans, Francesca da Rimini, Filipo Argenti, Farinata degli Uberti, Piero delle Vigne, Brunetto Latini, the simoniacal popes, Ulysses, and Ugolino impose themselves upon the reader's imagination with tremendous force. Nonetheless, the journey through the Inferno primarily signifies a process of separation and thus is only the initial step in a fuller development. In the Purgatorio the protagonist's spiritual rehabilitation commences. There Dante subdues his own personality so that he will be able to ascend. He comes to accept the essential Christian image of life as a pilgrimage, and he joins the other penitents on the road of life. At the summit of Purgatory, where repentant sinners are purged of their sins, Virgil departs, having led Dante as far as human knowledge is able--to the threshold of Paradise. Beatrice, who embodies the knowledge of divine mysteries bestowed by Grace, continues Dante's tour. In the Paradiso true heroic fulfillment is achieved. Dante's poem gives expression to those figures from the past who seem to defy death and who inspire in their followers a feeling of exaltation and a desire for identification. The Paradiso is consequently a poem of fulfillment and of completion. --The Merriam-Webster Encyclopedia of Literature --This text refers to the Paperback edition.

Language Notes

Text: English (translation)
Original Language: Italian --This text refers to the Paperback edition.

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Product Details

• Audio Cassette
• Publisher: Audio Book Contractors, Inc.; Unabridged edition (January 30, 1992)
• Language: English
• ISBN-10: 1556852630
• ISBN-13: 978-1556852633
• Product Dimensions: 9.8 x 6.8 x 1.3 inches
• Shipping Weight: 1 pounds (View shipping rates and policies)
• Average Customer Review: 4.2 out of 5 stars  See all reviews (61 customer reviews)
• Amazon Best Sellers Rank: #4,654,156 in Books (See Top 100 in Books)
  • #9 in Books > Books on Cassette > Authors, A-Z > ( A ) > Alighieri, Dante

More About the Author

Dante Alighieri was born in 1265 in Florence. His family, of minor nobility, was not wealthy nor especially distinguished; his mother died when he was a child, his father before 1283. At about the age of 20 he married Gemma Donati, by whom he had three children. Little is known of Dante's formal education-it is likely to have included study with the Dominicans, the Augustinians, and the Franciscans in Florence, and at the university in Bologna. In 1295 he entered Florentine politics and in the summer of 1300 he became one of the six governing Priors of Florence. In 1301, the political situation forced Dante and his party into exile. For the rest of his life he wandered through Italy, perhaps studied at Paris, while depending for refuge on the generosity of various nobles. He continued to write and at some point late in life he took asylum in Ravenna where he completed the Divine Commedia and died, much honoured, in 1321.

Customer Reviews

Most Helpful Customer Reviews

59 of 59 people found the following review helpful:

5.0 out of 5 stars Excellent for the first time reader...I should know, August 20, 2005

By 

thistle "loukz" (Florida) - See all my reviews

This review is from: The Divine Comedy (The Inferno, The Purgatorio, and The Paradiso) (Paperback)

I always felt it a crime that I made it through high school and college without reading this. I recently read The Dante Club which re-ignited my interest in finally reading The Divine Comedy. I looked at all the versions out there and decided on this one. I am so glad I did.
Intro:
There is an introduction on "How to read Dante" which was indispensible for my first time foray.
There is a note from the translator that explains how his translation might differ from others and why.
There is an introduction from a collegue of the translator that puts the Divine Comedy in a historical context.

Text:
So easy to read!
Each Canto begins with a synopsis. If all you wanted to know was the plot of the Divine Comedy you could just read all of these half page summaries (but you'd really miss out.)
Then the canto in beautiful verse.
Then copious notes that explain the minute details about whom you meet in the Canto and relevant events in history. The notes are as interesting as the Cantos themselves.

I am so glad I picked this copy up. I have now read and ENJOYED Dante's Divine Comedy. I highly recommend this as a starting point. It is extremely accessible.

161 of 178 people found the following review helpful:

5.0 out of 5 stars A Musical Translation!, August 25, 2003

By 

Terry Bohannon (Houston, TX USA) - See all my reviews
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This review is from: The Divine Comedy (The Inferno, The Purgatorio, and The Paradiso) (Paperback)

I was introduced to Ciardi's translation of "The Divine Comedy" in an anthology of continental literature I read in college. At that time, after experiencing fragments of Fagles' horrible "verse" translation of Homer's works, I had low expectations for the translations in that anthology.

However, the instant I started reading John Ciardi's verse translation of "The Inferno", my hardened heart once again began to beat with the vibrancy it had when I read poems of Wordsworth or Browning.

John Ciardi, with a poetic talent that seems to be unmatched -- except for what I?ve read of W.S. Merwin's "Paradiso XXXIII," -- creates a poetic flow that feels, tastes, and even smells Italian. A poetic flow that delightfully contrasts Fagles', whose poetic flow is limited by popular styles and even phrases of the 20th century.

Instead of trying to lift Dante to the 20th century, Ciardi gracefully carries us to the early 14th century.

Instead of assuming that Dante is arcane, old fashioned, and in need of John's own poetic help, he believes that the original Italian is fresh, exciting, and poetically graceful.

The translation of Dante would have been diluted if Ciardi were to try and bring the 14th century to us through the modernization of the language, symbolism, and even the geography of Dante's world. (Fagles even geographically modified his "Odyssey" at one point to rename a Greek river the Nile because readers may get 'confused'.)

I?m glad that Ciardi tries to bring us back in time when the universe was cosmically full of life, where even the stars were more than the mere byproducts of abstract forces, chance, that can only be systematically analyzed and dissected.

The medieval worldview is far richer than the purely logical and scientific mindset that?s now common. By bringing Dante to us unfiltered by that mindset, Ciardi helps move us towards the bright and vibrant medieval world.

I strongly recommend John Ciardi's poetic translation of "The Divine Comedy," a lot is missed when reading only "The Inferno." The whole work is amazingly balanced.

43 of 44 people found the following review helpful:

4.0 out of 5 stars Traduttore, traditore, October 2, 2004

By 

F. O'Neill (Upperville, Virginia United States) - See all my reviews
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This review is from: The Divine Comedy (The Inferno, The Purgatorio, and The Paradiso) (Paperback)

Which in Italian means, roughly, "To translate is to betray." This review speaks entirely to translations, not to Dante, who is for God to review.
John Ciardi's translation is wonderful. To my taste it is the best verse translation we have. Its notes are just adequate. The Italian text is not supplied.
Now, Dante translations come in various schools: original metre, English metre, prose divided as verse, straight prose. Dante's original metre (terza rima) is not at home in English, though Chaucer's (somewhat approximate) first English translation uses it, as does Dorothy Sayers (whose Dantean scholarship is superb when she is not being Lord Peter Whimsy). Her heroic attempt is to my mind a waste of time. Nor, to me, does pure prose (such as the magnificent Singleton, work). The Divine Comedy is a poem, and prose does not follow the climaxes, hesitations, and rythms faithfully enough. So we are left with English metre, and with prose structured as verses (cantos). For readers who know some Italian, or Latin, or even French or Spanish, the latter would be my choice, so long as the Italian is supplied on the facing page--you can then hear Dante's own voice while understanding it. For this I would recommend the Durling translation (Oxford). It is wonderfully done and superbly annotated (though Singleton's notes are even more majestic)--which will deal with the common Dante complaint, "Who are all these people?". If you want to read directly in English verse, Ciardi is your man. Additional reading would be Dorothy Sayers' "Further Readings on Dante" (Harper). Or, buy Ciardi for his verse and Singleton for his notes and Italian text. AND, PLEASE don't read JUST the Inferno. Read Purgatorio and Paradiso too. You must! Inferno is just a part. If you dedicate your life's leisure to this poem you will have made a perfectly sound choice.
A note about Dante's Italian. In the Comedy it is extremely challenging. This is not at all because it is old, nor because it is poetry. Though my own Italian is by no means exemplary, I quite easily read Dante's approximate contemporaries, Ariosto, Tasso (a lovely poet) or even older poets such as the charming lady La Compiuta Donzella. With Dante in the Italian I must have a crib (I use Durling's edition, as above), though I can read it straight from the Italian after I have been through it with English across the page. However, it would be more correct to say that Dante's language is difficult than that his Italian is. The other poets are writing primarily about chivalry, war, and love (Dante, elsewhere, most definitely writes above love--far too much, Beatrice will comment in Heaven). In The Comedy, Dante presents his reader with very knotty thoughts and very unexpected images, out on the far frontiers of language. At one point in the Inferno, among the thieves, he presents souls being eaten by serpents, in effect excreted as serpents, then returning to their own form to be again eaten by serpents. (Hackers beware! God's identity theft is more comprehensive than yours.) The image is exceedingly dense. I have great respect for translators such as Ciardi or Durling who can grasp it in Italian and then present it in English. With all respect for Love, this is just more complex. You really do not quite read Dante unless you read the Italian, but to read the The Comedy in Italian without aid is, undeniably, a test.