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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Thus one categorizing of sins is embedded within the other, and within each
category of sin there is ordering, too, for neither God nor Dante is the author of
confusion, p. 109, L. 8. Pope Anastasius: Anastasius II, pope from 496 to 498.
98. guard those evil-gotten coins: Dante assumes the role of the first pope, Peter,
who said to Simon Magus, "Thy money go to destruction with thee" (Acts 8:20).
199, l. 99. Anjow Charles of Anjou (1226-85), son of Louis VIII of France, and king
20.65-69), suggesting the sacrament of penance — which attempt at amendment
the pope, highest minister of that sacrament, corrupts. 279, L. 85. prince of the
modern Pharisees: Boniface VIII. The charge of hypocrisy is interesting, coming ...
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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