Of the great poets, Dante is one of the most elusive and therefore one of the most difficult to adequately render into English verse. In the INFERNO, Dante not only judges sin but strives to understand it so that the reader can as well. With this major new translation, Anthony Esolen has succeeded brilliantly in marrying sense with sound, poetry with meaning, capturing both the poem's line-by-line vigor and its allegorically and philosophically exacting structure, yielding an INFERNO that will be as popular with general readers as with teachers and students. For, as Dante insists, without a trace of sentimentality or intellectual compromise, even Hell is a work of divine art. Esolen also provides a critical Introduction and endnotes, plus appendices containing Dante's most important sources - from Virgil to Saint Thomas Aquinas and other Catholic theologians - that deftly illuminate the religious universe the poet inhabited.
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Brunetto here and for the three noble Florentines he will meet in the next canto.
Conversely, he is no sentimentalist when it comes to the rude and uncouth, as we
will find when we hear him laugh at the famously stupid people of Siena.
The work was allegorical in structure, leading some critics to suggest that Dante
may have derived from it his initial plan for the Comedy. From this work Brunetto
culled selections for a book of Italian verses called the Tesoretto (Little Treasury).
How man achieves an everlasting name: Italian come I'uom s'etterna, "how man
makes himself eternal," echoing Brunetto's Treasury, 2.120.1. 1 have translated
so as to avoid the obvious heresy, for man cannot make himself live a single day,
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Review: Inferno (La Divina Commedia #1)Procura do Utilizador - Jenny Clark - Goodreads
A rather winding and twisted narative but rather darkly funny Ler crítica na íntegra
Review: Inferno (La Divina Commedia #1)Procura do Utilizador - Andrew - Goodreads
A must read epic poem of Christian (especially Catholic) theology. Do not read it without notations or you will miss quite a bit. Ler crítica na íntegra