Guided by the poet Virgil, Dante plunges to the very depths of Hell and embarks on his arduous journey towards God. Together they descend through the nine circles of the underworld and encounter the tormented souls of the damned - from heretics and pagans to gluttons, criminals and seducers - who tell of their sad fates and predict events still to come in Dante's life. In this first part of his "Divine Comedy", Dante fused satire and humour with intellect and soaring passion to create an immortal Christian allegory of mankind's search for self-knowledge and spiritual enlightenment.
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About the Author
Dante Alighieri was born in 1265. Considered Italy's greatest poet, this scion of a Florentine family mastered in the art of lyric poetry at an early age. His first major work is La Vita Nuova (1292) which is a tribute to Beatrice Portinari, the great love of his life. Married to Gemma Donatic, Dante's political activism resulted in his being exiled from Florence to eventually settle in Ravenna. It is believed that The Divine Comedy—comprised of three canticles, The Inferno, The Purgatorio, and The Paradiso—was written between 1308 and 1320. Dante Alighieri died in 1321.
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Customer Reviews
“ The book is a classic, and for those who are willing to spend time going through the explanations that follow the poem's text, it's an interesting read. ”
Most Helpful Customer Reviews
40 of 43 people found the following review helpful
By "acominatus"
Format:Paperback
This review relates to the volume 1 of Dante Alighieri's
-The Divine Comedy-, Hell; Translated by Dorothy L. Sayers,
Penguin Classics, 1949. 346 pp.
Other reviewers have spoken to the perceived weaknesses
and problems with this particular translation and
volume, with Ms. Sayers' "Introduction" and "Notes."
Perhaps one should be warned before entering its portals,
as constructed by Ms. Sayers, that this is not an "easy"
Hell to assimilate.
Yet, at the beginning of her "Introduction," she presents
the offering in an inviting fashion: "The ideal way of
reading -The Divine Comedy- would be to start at the first
line and go straight through to the end, surrendering to
the vigour of the story-telling and the swift movement
of the verse, and not bothering about any historical
allusions or theological explanatios which do not occur
in the text itself. That is how Dante himself tackles
his subject."
Some readers may not find Ms. Sayers' translation to be
one that lends itself to "swift movement of the verse."
The value here, however, is the wealth of information
provided in both the "Introduction", the Notes, and
in the map drawings which clearly help the mind's eye
understand the "lay-out" of Hell as depicted by Dante.
The value of Ms. Sayer's "Introduction" is its clear
presentation of HER view of Dante, his work, his value,
his meaning, and his emphases.
She concentrates on the Images of Hell and on the Christian
doctrine implicit in the work. This translation is in
keeping with that emphasis, for it is structured,
somewhat restricted, and presents "Dante's" voice
as more attuned to the didactic and lecturing. Even the
voices of the denizens of Hell have the tones of
stern lesson-learning rather than evoking pity for
their failed virtue and blind human proclivities.
The problem with some readers, and some viewers of
Christianity, is trying to reconcile the idea of
stern, unrelenting, eternal Judgment and damnation
for sins with the idea of God's eternal Love, or as
Ms. Sayers translates the second tercet of Dante's
*terza rima* on the lintel of the entrance to Hell:
Justice Moved My Great Maker; God Eternal
Wrought Me: The Power, And The Unsearchably
High Wisdom, And The Primal Love Supernal.
Ms. Sayers will have no human shilly-shallying with
Dante's intent or the purpose of Hell. And that,
though it may appall some readers, is to the good;
for it forces the reader to confront whether or not
he or she accepts or does not the Christian doctrinal
views -- and helps the reader to understand the
serious nature of choosing one's faith and one's
religion, or not.
After each Canto, Ms. Sayers uses the same very
helpful devices for explaining the preceding Canto:
first, she discusses the main Images to be found in
that particular Canto in a very clear, full, doctrinal
way -- and then, she has the numbered notes which
explain allusions and phrases which Dante uses in
the work.
For instance, after Canto I, we find: "The Images.
-The Dark Wood- is the image of Sin or Error -- not so
much of any specific act of sin or intellectual perversion
as of that spiritual condition called "hardness of heart",
in which sinfulness has so taken possession of the soul as
to render it incapable of turning to God, or even knowing
which way to turn." Similarly, after Canto III, we find
this note concerning the phrase "the good of intellect":
"In the -Convivio- Dante quotes Aristotle as saying:
'truth is the good of the intellect'. What the lost souls
have lost is not the intellect itself, which still functions
mechanically, but the -good- of the intellect: i.e., the
knowledge of God, who is Truth."
This is an excellent edition for the scope of Ms. Sayers'
medieval scholarship and doctrinal insights. Though it
may be hard sledding for the tender-hearted. There
have always been several ways of seeing the road to
Hell -- in this version, once one strays from the
straight and narrow, there is only the crooked and
pit-full, not pitiful.
-- Robert Kilgore.
-The Divine Comedy-, Hell; Translated by Dorothy L. Sayers,
Penguin Classics, 1949. 346 pp.
Other reviewers have spoken to the perceived weaknesses
and problems with this particular translation and
volume, with Ms. Sayers' "Introduction" and "Notes."
Perhaps one should be warned before entering its portals,
as constructed by Ms. Sayers, that this is not an "easy"
Hell to assimilate.
Yet, at the beginning of her "Introduction," she presents
the offering in an inviting fashion: "The ideal way of
reading -The Divine Comedy- would be to start at the first
line and go straight through to the end, surrendering to
the vigour of the story-telling and the swift movement
of the verse, and not bothering about any historical
allusions or theological explanatios which do not occur
in the text itself. That is how Dante himself tackles
his subject."
Some readers may not find Ms. Sayers' translation to be
one that lends itself to "swift movement of the verse."
The value here, however, is the wealth of information
provided in both the "Introduction", the Notes, and
in the map drawings which clearly help the mind's eye
understand the "lay-out" of Hell as depicted by Dante.
The value of Ms. Sayer's "Introduction" is its clear
presentation of HER view of Dante, his work, his value,
his meaning, and his emphases.
She concentrates on the Images of Hell and on the Christian
doctrine implicit in the work. This translation is in
keeping with that emphasis, for it is structured,
somewhat restricted, and presents "Dante's" voice
as more attuned to the didactic and lecturing. Even the
voices of the denizens of Hell have the tones of
stern lesson-learning rather than evoking pity for
their failed virtue and blind human proclivities.
The problem with some readers, and some viewers of
Christianity, is trying to reconcile the idea of
stern, unrelenting, eternal Judgment and damnation
for sins with the idea of God's eternal Love, or as
Ms. Sayers translates the second tercet of Dante's
*terza rima* on the lintel of the entrance to Hell:
Justice Moved My Great Maker; God Eternal
Wrought Me: The Power, And The Unsearchably
High Wisdom, And The Primal Love Supernal.
Ms. Sayers will have no human shilly-shallying with
Dante's intent or the purpose of Hell. And that,
though it may appall some readers, is to the good;
for it forces the reader to confront whether or not
he or she accepts or does not the Christian doctrinal
views -- and helps the reader to understand the
serious nature of choosing one's faith and one's
religion, or not.
After each Canto, Ms. Sayers uses the same very
helpful devices for explaining the preceding Canto:
first, she discusses the main Images to be found in
that particular Canto in a very clear, full, doctrinal
way -- and then, she has the numbered notes which
explain allusions and phrases which Dante uses in
the work.
For instance, after Canto I, we find: "The Images.
-The Dark Wood- is the image of Sin or Error -- not so
much of any specific act of sin or intellectual perversion
as of that spiritual condition called "hardness of heart",
in which sinfulness has so taken possession of the soul as
to render it incapable of turning to God, or even knowing
which way to turn." Similarly, after Canto III, we find
this note concerning the phrase "the good of intellect":
"In the -Convivio- Dante quotes Aristotle as saying:
'truth is the good of the intellect'. What the lost souls
have lost is not the intellect itself, which still functions
mechanically, but the -good- of the intellect: i.e., the
knowledge of God, who is Truth."
This is an excellent edition for the scope of Ms. Sayers'
medieval scholarship and doctrinal insights. Though it
may be hard sledding for the tender-hearted. There
have always been several ways of seeing the road to
Hell -- in this version, once one strays from the
straight and narrow, there is only the crooked and
pit-full, not pitiful.
-- Robert Kilgore.
35 of 38 people found the following review helpful
Format:Paperback
Having wanted to read Inferno for a long time, I was glad to find Dorothy Sayers' translation since I value her own writing. I'm no scholar, so I can't compare this critically to the numerous other translations available. I just come looking to enjoy reading and understanding great classic literature on occasion. It takes a great deal of background information to appreciate this work. The Divine Comedy can be examined from many different angles: Poetry, allegory, theology, a spiritual journey, a love story. Sayers' introduction and notes, and the diagrams and drawings in this book were a great help to me. Some may argue that the scholarship is a bit dated, but Sayers clearly loved The Divine Comedy and wanted her readers to appreciate it also. The result of her work was a very interesting reading experience for me, better than I expected. I particularly enjoyed the insights she incorporated into the notes from Charles Williams' book, The Figure of Beatrice. (Sayers dedicated her translation of The Divine Comedy to Williams.) The verse might make it a little more difficult to get the meaning until you get used to it, but I think it's worth the effort. Once I found a good reading pace, I didn't find the rhyming forced as some readers have. (It might seem that way if you look for it.) It must be a difficult thing to try to give readers of English the same experience that Dante's Italian readers had and I think that was Dorothy Sayers' goal. She got me interested enough to take seriously her claim that readers of Dante are cheating themselves if they stop after Inferno. On through Purgatory to Paradise ... It must only get better from here.
42 of 48 people found the following review helpful
By A Customer
Format:Paperback
Well,I just had to write this since reading Hell and Purgatory.I used 3 versions.I read both books using the Sayers and Mandellbaum version.The sayers version is the BEST of all version,especially the notes.The Sayers notes and her commentary is the finest,and trying to view this book from a christian point-of-view,her notes are essential to any reader.Now,I will say this,the Mandellbaum version is not as beautiful as Sayers,but it is more literal.You get a better view of what is happening.So...I would reccomend reading the book from sayers and mandellbaum together.Or get some Cliff notes,to get a literal version.But...you absolutley need the sayers book,at the very least for the commentary and notes,or you'll never know what truley is happening in the book.Yes!...the sayers version is christian,and non-compromising,....but what do you expect?Its a christian book!If you want a humanist secular view get any other version.
Most Recent Customer Reviews
2.0 out of 5 stars
Please Fix Definition for "Good"
I ordered six books all in "Good" condition from five different re-sellers and this book was in shoddy shape compared to all the others. Read more
Published on January 1, 2011 by B
4.0 out of 5 stars
A must for every bookshelf
You can't read serious literature if you have not read this book. The translation is a particularly accessible one.
Published on September 20, 2010 by RUHU
4.0 out of 5 stars
Dante's Hell
The book was purchased for a school assignment of my oldest daughter. The book was in perfect shape delivered on time. Read more
Published on August 31, 2010 by MomOfGirlsWhoLoveJesus
4.0 out of 5 stars
Book is for the more theologically minded
The book is a classic, and for those who are willing to spend time going through the explanations that follow the poem's text, it's an interesting read. Read more
Published on November 16, 2008 by Sparagus
5.0 out of 5 stars
Terrific spiritual classic
After seeing Dante referred to by so many Christian authors over the years, I finally decided I'd better read this "timeless spiritual classic. Read more
Published on February 26, 2008 by William G. Kussmaul
4.0 out of 5 stars
Good, but not the best
The greatest strength of Dorothy Sayers's translation of The Divine Comedy is its notes. Sayers considered this translation her finest work and spent years of her life on it,... Read more
Published on January 22, 2008 by Jordan M. Poss
5.0 out of 5 stars
Poetry even for us monoglots
Let's begin with Dante. Called "the divine poet" (hence the adjective attached to his humbly titled Commedia), it is a difficult moniker to argue with, not because Dante is writing... Read more
Published on August 13, 2007 by arucuan
5.0 out of 5 stars
DOROTHY L. SAYERS' GENIUS GLOWS IN HER TRANSLATION OF THE COMMEDIA
This project was her dying effort after a lifetime of great achievements in scholarship and literature. Read more
Published on August 10, 2006 by C. Scanlon
5.0 out of 5 stars
Pleasant Guide
A warning: this is by now an rather old translation, and theres always more to explore in Dante. That being said, it has many insights newer translations lack, and its a brilliant... Read more
Published on April 11, 2004 by Ian Dall
5.0 out of 5 stars
Golden Oldies
First of all, a warning: the "Comedy" is a complex work, and we are constantly updating our understanding of it. Read more
Published on April 11, 2004 by Ian Dall
Citations (learn more)
This book cites 37
books:
See all 37 books this book cites
- Vita Nuova (Oxford World's Classics) by Dante Alighieri on 11 pages
- The Figure of Beatrice by Charles Williams on 10 pages
- The Divine Comedy (The Inferno, The Purgatorio, and The Paradiso) by Dante Alighieri on 10 pages
- Divine Comedy (Oxford World's Classics) by Dante Alighieri on 10 pages
- Don Quixote (English Picture Readers) by Miguel de Cervantes Saavedra in Back Matter
See all 37 books this book cites
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