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Inferno (Bantam Classics) Mass Market Paperback – January 1, 1982
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"An exciting, vivid Inferno by a translator whose scholarship is impeccable."
"The English Dante of choice."--Hugh Kenner.
"Exactly what we have waited for these years, a Dante with clarity, eloquence, terror, and profoundly moving depths."--Robert Fagles, Princeton University.
"Tough and supple, tender and violent . . . vigorous, vernacular . . . Mandelbaum's Dante will stand high among modern translations."--The Christian Science Monitor
"Lovers of the English language will be delighted by this eloquently accomplished enterprise."
--Book Review Digest
Text: English, Italian --This text refers to an out of print or unavailable edition of this title.
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At the opening of the poem, Dante awakes to find himself lost in a dark wood. Unable to leave the valley, he is greeted by the shade of Virgil, who tells him that he has been sent by Mary and Dante's dearly departed Beatrice to guide Dante through Hell, Purgatory, and eventually to the highest parts of Heaven. Although Dante is initially reluctant to go, he eventually follows Virgil down into the mouth of Hell.
While the idea of reading such a long old poem seems daunting, the language and imagery that Dante uses makes it as compelling and fresh as if it were written yesterday. It is, first and foremost, a journey, and the sights the pilgrim sees on his journey to the bottom of Hell are described in vivid and sometimes gross detail. Hell is a very physical place, full of bodies and bodily functions, and Dante doe snot skimp on the imagery. But as often as his language is crude, it is at times stunningly beautiful. There were similes that absolutely stopped me in my tracks with their perfection and beauty. If you want to read the Inferno for the first time, read it like a novel. Jump in, enjoy the story, gawk at the imagery, and stop to relish the beautiful passages.
Just as Dante the pilgrim takes Virgil as his guide through Hell, Dante the poet uses Virgil as a poetic guide in his attempt to write an epic that encompasses religion, politics, history, and the human experience. In each circle, Dante meets a new group of sinners who are in Hell for different reasons. The first thing to note about the damned is that they seem to be mostly from Florence. Seriously, sometimes I think Dante wrote this just so he could shove everyone he didn't like into the fiery pit. But in all seriousness, Dante's goal wasn't just to describe the afterlife, he was also trying to describe life on earth. By putting people from Florence in Hell or Heaven, Dante was commenting on what was happening in Italy at the time. Most important for Dante was the corruption he saw in the church, so there are entire cantos of the Inferno devoted to religious leaders, especially Popes, and especially Boniface, who was Pope at the time Dante was writing.
The other thing to note about the damned is how relatable they are, at least in the beginning. When you meet Paolo and Francesca in Canto V and listen to Francesca's story, you can't help but be drawn in and pity her. Dante the pilgrim pitied her too, and swoons (again, seriously, he spends like the first 10 cantos swooning left and right) due to his empathy for them. Again and again the pilgrim pities the damned, but as the canticle goes on this happens less and less. By the end of the canticle he has stopped pitying the shades at all, and instead feels that their damnation is deserved. Why did Dante the poet make the pilgrim transforming such a way? Just as the description of Hell also serves as a description of Earth and of the nature of the human soul, the pilgrim's journey through the afterlife mirrors the soul's journey from the dark wood of sin and error to enlightenment and salvation. Dante is at first taken in by the sinners because he is not wise enough to see through their excuses. He is too much like them to do anything other than pity them. As he goes through Hell, he learns more and shakes off the darkness of the wood, so that by the time he gets to the bottom he no longer pities the damned. Still, even in the lowest circles, the shades are all deeply human, and their stories of how they ended up in Hell are incredibly compelling.
Dante the poet shows again and again how similar the pilgrim and the damned really are. He constantly explores sins that he could have committed or paths that he could have taken, exposing his own weaknesses and confronting what would have been his fate if Beatrice and Mary had not sent Virgil to save him. I think it speaks to his bravery as a poet that he insisted on exposing not just the weaknesses in society, but also the weaknesses in his own character.
Dante the poet is also brave, I think, for tackling some very serious theological, political, and psychological issues. When Dante the pilgrim walks through the gate of Hell, the inscription on the gate says that the gate and Hell itself were made by "the primal love" of God. Here, Dante tackles one of the greatest theological questions; how can a just and loving God permit something as awful as Hell? While the real answer doesn't come until the Paradiso, Dante was brave to put that question in such stark and paradoxical terms.
Dante's constant indictments of the political and religious leaders of his day show bravery, intelligence, and a good degree of anger on his part. Before writing the Inferno, Dante had been exiled from his home city of Florence for being on the wrong side of a political scuffle. He was never able to return home, and his anger at the partisanship that caused his exile mixed with his longing for his home make the political themes of the poem emotionally charged and interesting to the reader, even today.
Lastly, Dante shows both bravery and a great deal of literary skill in his treatment of Virgil. Virgil is Dante's guide through Hell and, later, Purgatory. He leads Dante every step of the way, teaching him like a father would, protecting him from daemons and even carrying him on his back at one point. It is clear that Dante admires Virgil, and in some ways the poem is like a love song to him. Virgil, living before Christ, was obviously not Christian, so Dante's choice of Virgil as a guide through the Christian afterlife is really quite extraordinary. It shows that wisdom can be attained from the ancient world, and that the light of human reason, which Virgil represents, is necessary for the attainment of enlightenment and salvation. Dante believed strongly that reason and faith were not opposites, but partners, and his choice of Virgil as a guide is a perfect illustration of that principle.
But, despite Dante's love of Virgil, Virgil is, to me, one of the most tragic characters in literature. Virgil, as a pagan, cannot go to Heaven. He resides in Limbo, the first circle of Hell, home of the virtuous pagans. There, he and the other shades (including Homer, Plato, and others) receive no punishment except for their constant yearning for Heaven and the knowledge that they will never see the light of God. Virgil, at the request of Mary and Beatrice, leads Dante toward a salvation that he can never have. Human reason can only lead a soul so far; to understand the mysteries of Heaven one has to rely on faith and theology. Virgil's fate is the great tragedy of this otherwise comic poem, and the knowledge of that fate haunts the first two canticles. And while it makes sense thematically and in terms of the plot, Dante makes you love Virgil so much that his departure in the Purgatorio never really feels fair. I still miss him.
The Inferno is a long and complex poem, filled with vivid imagery, vast psychological depth, scathing social commentary, and deep theological questions. It is also a journey, a real adventure in a way, and a pleasure to read. Though the real fulfillment of Dante's themes does not come until the Paradiso, the Inferno is well worth reading on its own. Even if you don't go on to read the other two canticles, reading The Inferno is time well spent.
Rating: 5 stars
Recommendations: Read it. Skip the boring parts if you want to, but just read it.
The translation is admirable. Much less free (and more accurate) than, say, the John Ciardi or the Clive James translation. And the Mandelbaum translation is admirable as poetry (much more so than, say, Clive James' work).
Why not 5?
The Kindle version, which I purchased does have a formatting problem. This is a bilingual--Italian/English--edition. The Italian text--a page of it--is -presented first; then the English translation follows. The problem is that the text doesn't really break up into pages on the kindle or in the Kindle app. There is no demarcation between the Italian and the English. The Italian text stops, and in the next line, the English text begins. There is no visible marker or way to jump from original to translation.
I bought this edition specifically because I wanted to compare the Italian with the English, but trying to scroll between the Italian "patch" of text and the English "patch" is very cumbersome.
For students of Dante, this version is an excellent place to start but it would be nice to also see Musa, Hollander and Zappulla in the Kindle Store.