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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0 narrow month the Straits of Gibraltar, symbol of the bounds beyond which
human reason and achievement, unaided by grace, cannot go. d'i nostri sensi ch'
è del rimanente non vogliate negar l'esperienza, Canto Twenty-six □ 271.
Now just as the preservation of the bodily nature of one individual is a true good,
so too is the preservation of the nature of the human species a very great good.
And just as the use of food is directed to preserve life in the individual, so is the ...
Despite Virgil's fears, Dante is not really weeping for the sinners but for the
terrible distortion of that work of beauty the human body. He will not weep again
in Hell. 205, L. 30. make God's judgment yield to human force: an obscure verse,
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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