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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On sins meriting eternal punishment Sin incurs a debt by disturbing an order. But
the effect remains so long as the cause remains. So as long as the disturbance of
the order remains the debt of punishment must needs remain also.
Now man incurs a triple loss by sinning: . . . stain, corruption of natural good, and
debt of punishment. He incurs a stain, inasmuch as he forfeits the lustre of grace
through the deformity of sin. Natural good is corrupted, inasmuch as man's ...
Theology can take us far: the just punishment of the wicked, says Thomas, is an
act of charity toward them (justice and charity cannot finally be at odds), even
when that punishment does not or cannot result in their correction. At the least it ...
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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