The Divine Comedy (The Inferno, The Purgatorio, and The Paradiso) | 
 enlarge | Author: Dante Alighieri
Creator: John Ciardi
Publisher: NAL Trade
Category: Book
List Price: $18.00
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Avg. Customer Rating:  28 reviews
Sales Rank: 1819
Media: Paperback
Number Of Items: 1
Pages: 928
Shipping Weight (lbs): 1.9
Dimensions (in): 8.9 x 6 x 1.7
ISBN: 0451208633
Dewey Decimal Number: 851.1
EAN: 9780451208637
ASIN: 0451208633
Publication Date: May 27, 2003
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Product Description
Dante Alighieri's poetic masterpiece, The Divine Comedy, is a moving human drama, an unforgettable visionary journey through the infinite torment of Hell, up the arduous slopes of Purgatory, and on to the glorious realm of Paradise-the sphere of universal harmony and eternal salvation.
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| Customer Reviews: Read 23 more reviews...
 Solid translation for a schizophrenic work! July 2, 2008
This translation was easy enough to understand although the work itself suffers from a major problem and that is a sharp contrast that exists between exciting moments to ones where the lack of action is utterly unbearable. I suggest you read this version which makes it easier to understand Dante's thinking. Which is something you will want to get a firm grasp on as you enter the later sections which can be laboriously slow.
 Three and a Half Years Later... June 6, 2008
...I finally finished this wonderful book (today)! To tell the truth, it was the kind of book I put away for a few weeks or months and then picked it up again, reading a few cantos at a time. As assumed by most, I believe the Inferno may be the best of the three Canticles if only for the descriptive passages, and my memories of first hearing about it in the tenth grade. In fact, that first canto/introduction was what got me to start reading the book. So, as for the story, the Inferno, I feel, was the only canticle that did not really have a dry spot, simply because most of us have heard about the circles of hell in popular culture, so it was nice to read about Dante's interpretation of it all. As for Purgatorio and Paradiso, I felt that they did have some slow sections. The Purgatorio Canticle picked up where the Inferno left off, and so those parts were nice, but as Dante started his journey up the mountain, it was a little dull until he started to observe the punishments of those who sinned, but were ultimately destined for Heaven. The same thing happens in Paradiso; it starts off well, then takes somewhat of a dive, until there are some interesting "guest appearances." I will not go into detail, but it was fun to learn about some of these historical figures. But that is the problem with writing about Heaven, is that there really should not be any spheres or levels, but Dante has done so to mirror the other Canticles, which seems like the most balanced way to do it. Aside from this, another high point for me was when he finally meets St Peter, St James, and St John, who, represent Faith, Hope, and Love, respectively. This is kind of like the Gates of Heaven passage, except there are no gates, but there are some very interesting questions that are answered. The cantos on Angels were essentially disappointing, but once they reached the Empyrean in the last four cantos, the Divine Comedy really ended on a high note.
Now, I saved my review of the guides for the end, because they are such a large part of the Comedy. Virgil was a simply amazing guide through both Hell and Purgatory, as he represented Human Reason, and really fit in perfectly, even shooting down Dante when he felt bad for a sinner, or practiced some other fault. That might not make sense as Virgil did not believe in God, but it still works. Beatrice, as Dante's guide in Heaven and representation of Divine Revelation, was also a great choice, if only for her role in his life. After all, I would have done the same if I were writing a similar story. In addition to these two, there is a third and forgotten guide of Dante's, which leads him through the Empyrean and represents the Contemplative Soul; St Bernard. This really came out of nowhere for me, because I thought it was only Virgil and Beatrice, but since he was only around for about four cantos, it is not like I can say I was surprised, in the sense that he is forgotten and that he is there, since Dante always uses the theme of the Trinity. Still, all three guides make the Divine Comedy an even more memorable piece of Literature that has deserved its place in history as a magnificent piece of literature.
***Notes on this Edition***
I really enjoyed all the effort that the translator John Ciardi put into this wonderful work. And I do not mean just putting this book into the English language, but actually maintaining the style in which Dante wrote the book, as this translation also follows the "tercet" pattern that Dante wrote it in. However, as assumed, it becomes a bit tedious, since he keeps the rhyming patterns, meaning that it is not a straight translation and that Ciardi had to take artistic freedoms to make it work. However, he more than compensates for this by writing a brief summary at the beginning of each canto and gives notes at the end to clear up any confusion or any changes. The notes, however was what also made it such a long read, as they take up more time than the actual text, but given that this book was written more than 600 years ago, it is also helpful in understanding everything, since it was sometimes hard to understand the original text, which all of its rhymes and poetry patterns. Still, I feel that this edition was perfect for myself in my first reading of this historical text, which has made me wonder whether I should learn how to read it in the vernacular! It was that great!
T.S. Eliot - "Dante and Shakespeare divide the world between them-there is no third."
Great read October 20, 2007
Perhaps I'm one of the few people who didn't have to read this in high school / college. I'm not sure I would have liked to have been required to read it, but reading it now as an older adult I found it fascinating.
Divine October 17, 2007
"Midway life's journey I was made aware/that I had strayed into a dark forest..."
Those eerie words open the first cantica of Dante Alighieri's "Divine Comedy," the legendary poem that takes its author through the eerie depths of hell, heaven and purgatory. It's a haunting, almost hallucinatory experience, full of the the metaphorical and supernatural horrors of the inferno, and joys of paradise.
The date is Good Friday of the year 1300, and Dante is lost in a creepy dark forest, being assaulted by a trio of beasts who symbolize his own sins. But suddenly he is rescued ("Not man; man I once was") by the legendary poet Virgil, who takes the despondent Dante under his wing -- and down into Hell.
But this isn't a straightforward hell of flames and dancing devils. Instead, it's a multi-tiered carnival of horrors, where different sins are punished with different means. Opportunists are forever stung by insects, the lustful are trapped in a storm, the greedy are forced to battle against each other, and the violent lie in a river of boiling blood, are transformed into thorn bushes, and are trapped on a volcanic desert.
Well, that was fun. But after passing through hell, Dante gets the guided tour of Purgatory, where the souls of the not-that-bad-but-not-pure-either get cleansed. He and Virgil emerge at the base of a vast mountain, and an angel orders him to "wash you those wounds within," then lets them in.
As Virgil and Dante climb the mountain, they observe the seven terraces that sinners stay on, representing the seven deadly sins -- the angry, the proud, the envious, the lazy, the greedy, the lustful and the gluttons. It's a one-way trip, and you don't even get to look back.
The road up the mountain leads to the gates of Heaven, and soon Dante has been purified to the point where he's allowed to go inside. Virgil doesn't get to enter Heaven, so he passes Dante on to the beautiful Beatrice, the woman he loved in his younger years.
She whisks him up to the spheres of those who are now pure of soul -- the wise, the loving, the people who fought for their religion, the just, the contemplative, the saints, and finally even the angels. And after passing through heaven's nine spheres, he passes out of the physical realm and human understanding -- and sees God, the incomprehensible, represented by three circles inside each other, but all the same size.
Needless to say, it's a pretty wild trip.And admittedly "Purgatorio" and "Paradiso" aren't quite on the writing level of "Inferno," which has the most visceral, skin-crawling imagery and lines ("Fixed in the slime, groan they, 'We were sullen and wroth...'"), and a wicked sense of irony. It makes the angels and saints seem a bit tame.
But there's plenty of power in the second two books, particularly when Dante tries to comprehend God, and almost blows out his brain in the process -- "my desire and my will were turned like a wheel, all at one speed by the Love that turns the sun and all the other stars." It's haunting, and sticks with you long after the story has ended.
More impressive still is his ability to weave the poetry out of symbolism and allegory, without it ever seeming preachy or annoying. Even at the start, Dante sees lion, a leopard and a wolf, which symbolize different sins, and a dark forest that indicates suicidal thoughts. Not to mention Purgatory as a mountain that must be climbed, or Hell as a Hadesian underworld.
Dante's vivid writing and wildly imaginative journey makes the "Divine Comedy" a timeless, spellbinding read, and hauntingly powerful from inferno to paradiso.
The Best Translation of Inferno. . . August 24, 2007
12 out of 13 found this review helpful
. . .is the one that you'll actually read. For most of
us, that's the magnificent one by John Ciardi. It's also
the one that's most likely to lead the reader on to Purgatorio
and Paradiso. Hell, it turns out, is the most attractive of
the three canticles into which the Divine Comedy is divided.
Fleshy, graphic and personal it has a lurid appeal that the
other, more spiritual canticles lack. Many people have
well-thumbed copies of The Inferno and barely touched volumes
of the other two.
So translation is the key. Translators, according to the
Italian proverb are always traitors.
There is no way around it, something is always lost in the
leap from one language to another. You can consult a modern
'adaptation' of Shakespeare to get the feel of what has to
be surrendered.
John Ciardi decided to keep the original rhyme scheme: 'aba'
in which the poem is divided into groups of three lines of
which the first and third rhyme. In Italian, this is fairly
easy, in English a great deal more difficult.
So in order to keep the feel of the tercets (as they're called)
Ciardi sometimes had to stray a bit from the literal
meaning. Nothing vital is lost, but the specialist will
surely find some points to dispute.
For the rest of us, this is a first-rate view into a world
we can barely otherwise imagine. Ciardi's notes and glosses
on the cantos are breezy, illuminating and approachable.
There are other, more correct translations- Mandelbaum's
is first among them -that might be better for the specialist
or the student of the Italian Language. But Ciardi is
still irreplaceable.
--Lynn Hoffman, author of New Short Course in Wine,The and
bang BANG: A Novel ISBN 9781601640005
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