The Divine Comedy (The Inferno, The Purgatorio, and The Paradiso) (Paperback)

by Dante Alighieri (Author), John Ciardi (Translator) "The Divine Comedy is one of the few literary works which have enjoyed a fame that was both immediate and enduring..." (more)
Key Phrases: divine illumination, three theological virtues, lower hell, The Divine Comedy, The Purgatorio, The Paradiso (more...)

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 an out of print or unavailable edition of this title.

Review
`The pleasingly plain, readable English well reflects Dante's original eloquence.' The Times

`What is amazing about Dante's language is the fluency, the plainness, the simplicity - the sheer approachability - of his words. The sheer formal mastery of the man is quite amazing.' Michael Glover, New Statesman and Society --This text refers to an out of print or unavailable edition of this title.

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Product Details

• Paperback: 928 pages
• Publisher: NAL Trade (May 27, 2003)
• Language: English
• ISBN-10: 0451208633
• ISBN-13: 978-0451208637
• Product Dimensions: 8.7 x 6 x 1.6 inches
• Shipping Weight: 2 pounds
• Average Customer Review: 4.5 out of 5 stars See all reviews (86 customer reviews)
• Amazon.com Sales Rank: #4,616 in Books (See Bestsellers in Books)

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Customer Reviews

Most Helpful Customer Reviews

289 of 290 people found the following review helpful:

5.0 out of 5 stars Excellent, readable translation for first-time readers, December 27, 2004

By	Wray Mould (USA) - See all my reviews

This is a review of the translation and edition, not of the Commedia itself, which would be ludicrous. Read reviews of every translation available on Amazon.com, and you'll find rave reviews as well as tirades. My approach is to recommend different versions for different stages of Dante appreciation. To my mind, your first translation should satisfy the following: 1. It must be, above all, readable. Obscure words (other than historical/mythological characters) and twisted syntax will throw up a roadblock in the very first canto. 2. It should give some sense of the poetry of the original. 3. It had better convey the emotion of the original. 4. The notes should aid, not overwhelm, the curious reader.

Mr. Ciardi's translation treads a marvelous balance among these directives. Literalists will lament Ciardi's word choice and will assert inappropriate meaning changes. Purists will assail the abandonment of terza rima. (Ciardi's compromise rhyming scheme, as recounted in his introduction, is that of a practicing English-language poet.) The notes are enough - with just that little extra - to make a first reading interesting and comprehensible. (Mark Musa's notes to his translation are too detailed for a first go-around, though Ciardi's get a bit much, too, in the last two canticles.) And the reader feels the emotions of Dante the pilgrim as well as those shades he meets along the way.

For a deeper reading, I suggest going on to Charles Singleton's Text and Commentary volumes for each canticle. These literal prose translations and notes will ensure you don't miss very much the second time around. And if you have some Italian, or any other romance language for that matter, you can follow along on the opposite page.

If you want more than that, you can try a terza rima version like Pinsky's Inferno, or other poetic efforts like Longfellow's or Dorothy Sayers'. Most versifications sacrifice clarity and readability to shoehorn the text into Dante's rhyming or metrical scheme, and I'd tackle them only after getting a good handle on the Commedia.

Finally, a word about the edition. The text has been reset into very clear, sharp type, and the original illustrations are much cleaner than in the mass-market paperback edition. The page layout is relaxed, and the look is a joy to my fiftyish eyes. It is printed on alkaline paper and will probably age better than I am managing to do. And the book lies flat when open. An index to characters, locations, and allusions is all that's missing. Buon viaggio!

65 of 66 people found the following review helpful:

5.0 out of 5 stars Superb and accessable translation of Dante's masterpiece, November 19, 1999

By	Fredrik King (Roseville, MI USA) - See all my reviews (REAL NAME)

This review is from: The Divine Comedy (Hardcover)

Those of us not fortunate enough to be able to read Italian and thus savor Dante's masterpiece in its original language have the next best thing--the comprehensively noted translation by another great poet, the late John Ciardi. This superb and handsome hardbound edition of Ciardi's translation of Dante's Divine Comedy is not simply the collected, earlier translations of The Inferno, The Purgatorio, and The Paradiso, which in past years appeared in separate paperback editions: This edition is the final Ciardi translation from earlier forms which were "a work in progress." In this magnificent final translation, the non-Italian-speaking reader can savor Dante's extrodinary fusion of morality with the metaphorical architecture of Hell, Purgatory, and Heaven, explored with pathos and sympathy for the human condition which, in the mind of Dante, constantly yearns for The All in All. A volume that should be required reading for anyone who aspires to understand man's place in the universe.

138 of 152 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 (REAL NAME)

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.