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Inferno (The Divine Comedy) Paperback – December 9, 2003
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A groundbreaking bilingual edition of Dante's masterpiece that includes a substantive Introduction, extensive notes, and appendixes that reproduce Dante's key sources and influences. Of the great poets, Dante is one of the most elusive and therefore one of the most difficult to adequately render into English verse. 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 scholars, teachers, and students. For, as Dante insists, without a trace of sentimentality or intellectual compromise, even Hell is a work of divine art.
Esolen's edition also provides a critical ntroduction and endnotes, with appendices containing Dante's most important sources—from Virgil to Saint Thomas Aquinas and beyond —that deftly illuminate the religious universe the poet inhabited.
Verse Translation by Anthony Esolen
Illustrations by Gustave Doré
- Print length528 pages
- LanguageEnglish
- PublisherModern Library
- Publication dateDecember 9, 2003
- Dimensions5.2 x 1.1 x 8 inches
- ISBN-109780812970067
- ISBN-13978-0812970067
- Lexile measure1120L
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Editorial Reviews
Review
“Crisp and clear, Esolen’s version avoids two modern temptations: a slavish literalness to the Italian or a taking of liberties in the attempt to make this greatest of medieval poems esthetically modern. . . . In addition to his scholarly tact, Esolen is simply one of the most vigorous English translators of Dante ever.”—Crisis magazine
“Esolen’s new translation follows Dante through all his spectacular range, commanding where he is commanding, wrestling, as he does, with the density and darkness in language and in the soul. This Inferno gives us Dante’s vivid drama and his verbal inventiveness. It is living writing.” —James Richardson, professor of creative writing in the Lewis Center for the Arts, Princeton University
“Opening the book we stand face to face with the poet, and when his voice ceases we may marvel if he has not sung to us in his own Tuscan."—William Dean Howells, The Nation
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About the Author
An accomplished poet in his own right, Esolen is known for his widely acclaimed three-volume verse translation of Dante's Divine Comedy (Modern Library) and for his verse translation of Tasso's Jerusalem Delivered (Johns Hopkins). His Ten Ways to Destroy the Imagination of Your Child has been described as "a worthy successor to C.S. Lewis's The Abolition of Man." And its sequel, Life Under Compulsion, has been called "essential reading for parents, educators, and anyone who is concerned to rescue children from the tedious and vacuous thing childhood has become." His recent books include Out of the Ashes: Rebuilding American Culture, Nostalgia: Going Home in a Homeless World, and, No Apologies: How Civilization Depends on the Strength of Men.
The grandson of Italian immigrants to America, Dr. Esolen was born and raised in the coal-mining country of Northeastern Pennsylvania. He received his B.A. from Princeton University, and his Ph. D. from the University of North Carolina, Chapel Hill. He is a professor of humanities and writer-in-residence at Magdalen College of the Liberal Arts in Warner, New Hampshire.
Excerpt. © Reprinted by permission. All rights reserved.
mi ritrovai per una selva oscura,
che la diritta via era smarrita.
Ahi quanto a dir qual era è cosa dura4
esta selva selvaggia e aspra e forte
che nel pensier rinova la paura!
Tant' è amara che poco è più morte;7
ma per trattar del ben ch'i' vi trovai,
dirò de l'altre cose ch'i' v'ho scorte.
Io non so ben ridir com' i' v'intrai,10
tant' era pien di sonno a quel punto
che la verace via abbandonai.
Ma poi ch'i' fui al piè d'un colle giunto,13
là dove terminava quella valle
che m'avea di paura il cor compunto,
guardai in alto e vidi le sue spalle16
vestite già de' raggi del pianeta
che mena dritto altrui per ogne calle.
Allor fu la paura un poco queta,19
che nel lago del cor m'era durata
la notte ch'i' passai con tanta pieta.
E come quei che con lena affannata,22
uscito fuor del pelago a la riva,
si volge a l'acqua perigliosa e guata,
Canto One
Lost in a dark wood and threatened by three beasts, Dante is rescued by Virgil, who proposes a journey to the other world.
Midway upon the journey of our life
I found myself in a dark wilderness,
for I had wandered from the straight and true.
How hard a thing it is to tell about,4
that wilderness so savage, dense, and harsh,
even to think of it renews my fear!
It is so bitter, death is hardly more-7
but to reveal the good that came to me,
I shall relate the other things I saw.
How I had entered, I can't bring to mind,10
I was so full of sleep just at that point
when I first left the way of truth behind.
But when I reached the foot of a high hill,13
right where the valley opened to its end-
the valley that had pierced my heart with fear-
I raised my eyes and saw its shoulders robed16
with the rays of that wandering light of Heaven°
that leads all men aright on every road.
That quieted a bit the dread that stirred19
trembling within the waters of my heart
all through that night of misery I endured.
And as a man with labored breathing drags22
his legs out of the water and, ashore,
fixes his eyes upon the dangerous sea,
° that wandering light of Heaven: Italian pianeta, "planet." It is the sun, considered a planet, or wandering light, revolving about the earth.
così l'animo mio, ch'ancor fuggiva,25
si volse a retro a rimirar lo passo
che non lasciò già mai persona viva.
Poi ch'èi posato un poco il corpo lasso,28
ripresi via per la piaggia diserta,
sì che 'l piè fermo sempre era 'l più basso.
Ed ecco, quasi al cominciar de l'erta,31
una lonza leggera e presta molto,
che di pel macolato era coverta;
e non mi si partia dinanzi al volto,34
anzi 'mpediva tanto il mio cammino,
ch'i' fui per ritornar più volte vòlto.
Temp' era dal principio del mattino,37
e 'l sol montava 'n sù con quelle stelle
ch'eran con lui quando l'amor divino
mosse di prima quelle cose belle;40
sì ch'a bene sperar m'era cagione
di quella fiera a la gaetta pelle
l'ora del tempo e la dolce stagione;43
ma non sì che paura non mi desse
la vista che m'apparve d'un leone.
Questi parea che contra me venisse46
con la test' alta e con rabbiosa fame,
sì che parea che l'aere ne tremesse.
Ed una lupa, che di tutte brame49
sembiava carca ne la sua magrezza,
e molte genti fé già viver grame,
questa mi porse tanto di gravezza52
con la paura ch'uscia di sua vista,
ch'io perdei la speranza de l'altezza.
E qual è quei che volontieri acquista,55
e giugne 'l tempo che perder lo face,
che 'n tutti suoi pensier piange e s'attrista;
tal mi fece la bestia sanza pace,58
che, venendomi 'ncontro, a poco a poco
mi ripigneva là dove 'l sol tace. So too my mind, while still a fugitive,25
turned back to gaze again upon that pass
which never let a man escape alive.
When I had given my weary body rest,28
I struck again over the desert slope,
ever the firmer foot the one below,
And look! just where the steeper rise began,31
a leopard light of foot and quick to lunge,
all covered in a pelt of flecks and spots,
Who stood before my face and would not leave,34
but did so check me in the path I trod,
I often turned to go the way I came.
The hour was morning at the break of dawn;37
the sun was mounting higher with those stars°
that shone beside him when the Love Divine
In the beginning made their beauty move,40
and so they were a cause of hope for me
to get free of that beast of flashy hide-
The waking hour and that sweet time of year;43
but hope was not so strong that I could stand
bold when a lion stepped before my eyes!
This one seemed to be coming straight for me,46
his head held high, his hunger hot with wrath-
seemed to strike tremors in the very air!
Then a she-wolf, whose scrawniness seemed stuffed49
with all men's cravings, sluggish with desires,
who had made many live in wretchedness-
So heavily she weighed my spirit down,52
pressing me by the terror of her glance,
I lost all hope to gain the mountaintop.
And as a gambler, winning with a will,55
happening on the time when he must lose,
turns all his thoughts to weeping and despair,
So I by that relentless beast, who came58
against me step by step, and drove me back
to where the sun is silent evermore.
those stars: the constellation Aries. It is the springtime of the year, recalling the springtime of the universe; see notes. Mentre ch'i' rovinava in basso loco,61
dinanzi a li occhi mi si fu offerto
chi per lungo silenzio parea fioco.
Quando vidi costui nel gran diserto,64
«Miserere di me», gridai a lui,
«qual che tu sii, od ombra od omo certo!».
Rispuosemi: «Non omo, omo già fui,67
e li parenti miei furon lombardi,
mantoani per patrïa ambedui.
Nacqui sub Iulio, ancor che fosse tardi,70
e vissi a Roma sotto 'l buono Augusto
nel tempo de li dèi falsi e bugiardi.
Poeta fui, e cantai di quel giusto73
figliuol d'Anchise che venne di Troia,
poi che 'l superbo Ilïón fu combusto.
Ma tu perché ritorni a tanta noia?76
perché non sali il dilettoso monte
ch'è principio e cagion di tutta gioia?».
«Or se' tu quel Virgilio e quella fonte79
che spandi di parlar sì largo fiume?»,
rispuos' io lui con vergognosa fronte.
«O de li altri poeti onore e lume,82
vagliami 'l lungo studio e 'l grande amore
che m'ha fatto cercar lo tuo volume.
Tu se' lo mio maestro e 'l mio autore,85
tu se' solo colui da cu' io tolsi
lo bello stilo che m'ha fatto onore.
Vedi la bestia per cu' io mi volsi;88
aiutami da lei, famoso saggio,
ch'ella mi fa tremar le vene e i polsi».
«A te convien tenere altro vïaggio»,91
rispuose, poi che lagrimar mi vide,
«se vuo' campar d'esto loco selvaggio;
ché questa bestia, per la qual tu gride,94
non lascia altrui passar per la sua via,
ma tanto lo 'mpedisce che l'uccide;
Now while I stumbled to the deepest wood,61
before my eyes appeared the form of one
who seemed hoarse, having held his words so long.
And when I saw him in that endless waste,64
"Mercy upon me, mercy!" I cried out,
"whatever you are, a shade, or man in truth!"
He answered me: "No man; I was a man,67
and both my parents came from Lombardy,
and Mantua they called their native land.
In the last days of Julius I was born,70
and lived in Rome under the good Augustus
in the time of the false and cheating gods.
I was a poet, and I sang of how73
that just son of Anchises° came from Troy
when her proud towers and walls were burnt to dust.
But you, why do you turn back to such pain?76
Why don't you climb that hill that brings delight,
the origin and cause of every joy?"
"Then are you-are you Virgil? And that spring79
swelling into so rich a stream of verse?"
I answered him, my forehead full of shame.
"Honor and light of every poet, may82
my long study avail me, and the love
that made me search the volume of your work.
You are my teacher, my authority;85
you alone are the one from whom I took
the style whose loveliness has honored me.
See there the beast that makes me turn aside.88
Save me from her, O man renowned and wise!
She sets the pulses trembling in my veins!"
"It is another journey you must take,"91
replied the poet when he saw me weep,
"if you wish to escape this savage place,
Because this beast that makes you cry for help94
never lets any pass along her way,
but checks his path until she takes his life.
Product details
- ASIN : 0812970063
- Publisher : Modern Library (December 9, 2003)
- Language : English
- Paperback : 528 pages
- ISBN-10 : 9780812970067
- ISBN-13 : 978-0812970067
- Lexile measure : 1120L
- Item Weight : 13.8 ounces
- Dimensions : 5.2 x 1.1 x 8 inches
- Best Sellers Rank: #21,638 in Books (See Top 100 in Books)
- #16 in Ancient & Classical Poetry
- #40 in Inspirational & Religious Poetry (Books)
- #732 in Classic Literature & Fiction
- Customer Reviews:
About the author
Anthony Esolen is a professor of English and a writer in residence at Magdalen College of the Liberal Arts in Warner, New Hampshire. He is a senior editor of Touchstone magazine, and a contributing editor of Crisis and Chronicles. A poet in his own right, Professor Esolen is known for his verse translations of epic poetry, including the three volumes of Dante's Divine Comedy (Random House, Modern Library), Tasso's Jerusalem Delivered (Johns Hopkins), and Lucretius' On the Nature of Things (Johns Hopkins). His sacred work, The Hundredfold: Songs for the Lord, is a book length sacred poem centered on the life of Christ. A noted essayist and social commentator, Anthony Esolen has published books on a broad range topics from literature, to theology, to education and culture, ancient to modern.
Books by Anthony Esolen
On the Nature of Things
(Verse translation of Lucretius’ De rerum natura, with scholarly commentary)
Johns Hopkins, 1995
Jerusalem Delivered
(Verse translation of Tasso's Gerusalemme Liberata, with scholarly commentary)
Johns Hopkins, 2000
Ironies of Faith: The Laughter at the Heart of Christian Literature
ISI, 2007
Inferno (verse translation of Dante’s Inferno)
Random House, Modern Library Edition, 2002
Purgatory (verse translation of Dante's Purgatorio)
Random House, Modern Library Edition, 2003
Paradise (verse translation of Dante's Paradiso)
Random House, Modern Library Edition, 2005
The Beauty of the Word: A Running Commentary on the Roman Missal
Magnificat, 2012
Reclaiming Catholic Social Teaching (treatise on the social teaching of Pope Leo XIII)
Sophia Instute Press, 2014
The Politically Incorrect Guide to Western Civilization
Regnery, 2008
Ten Ways to Destroy the Imagination of your Child
ISI, 2010
Roman Missal Companion
Magnificat, 2011
Reflections on the Christian Life
Sophia Institute Press, 2012
Living the Days of Advent and the Christmas Season
Paulist Press, 2013
Defending Marriage: Twelve Arguments for Sanity
St. Benedict Press, 2014
Life Under Compulsion: Ten Ways to Destroy the Humanity of Your Child
ISI, 2015
Real Music: A Guide to the Timeless Hymns of the Church
Tan Books, 2016
Angels, Barbarians, & Nincompoops
Tan Books, 2017
Out of the Ashes: Rebuilding American Culture
Regnery, 2017
Nostalgia: Going Home in a Homeless World
Regnery, 2018
No Apologies: How Civilization Depends on the Strength of Men
Regnery, 2022
Defending Boyhood
Tan Books, 2018
How the Church Has Changed the World,
Magnificat, Volume One, 2019; Volume Two, 2020; Volume Three 2022
In the Beginnng Was the Word
Angelico Press, 2021
The Hundredfold: Songs for the Lord
Ignatius, 2018
Peppers
New Poets Series, 1991
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Unless you have a degree in literature or English ( including Victorian English) this is the translation for you. Plus there is the simultaneous original Italian on the left side of the page which, if you know Italian, is dope bc you can do both! I love it.
Esolen's notes are at the end of the volume so the reader will be less likely to interrupt reading the poem to read the notes; he does not put endnote numbers in the the poem but instead his endnotes include page and line references that let the reader locate the appropriate point in the poem. (There are some brief notes on obscure matters at the relevant points in the poem.) I read the endnotes for each canto after reading the canto; the notes are uniformly informative and helpful. In the rare instances where Esolen's notes interject modern prejudices or seem to undercut Dante (I saw 2 instances), it's a brief and not particularly sharp disagreement that Esolen merely posits but does not argue. Dante's punishments are so clear and appropriate that at times he forces the reader to consider his own conscience and the sins he's committed. Yet, Dante admonishes the reader (and himself) not to dwell unnecessarily long on the punishments.
Dante's Inferno flows very well in Esolen's translation. Esolen renders Dante's masterpiece in iambic pentameter and does not force rhyme. He presents the Italian and his English rendition on opposing pages, and the Italian is an aid for even those of us who don't read Italian as its sense is often discernible -- with or without the translation. Some might consider the Italian "filler" that makes the book longer and thus more expensive, but given the very reasonable cost of the book, that would be unfair.
Esolen includes some of Gustave Dore's illustrations in the volume. They're helpful, but small. A complete set of Dore's illustrations, The Dore Illustrations for Dante's Divine Comedy (136 Plates by Gustave Dore) , is available inexpensively and is a tremendous aid in visualizing Dante's hell. (I would not recommend Blake's illustrations, however.) I had previously read Ciardi's translation of The Inferno without using Dore's illustrations and found that using them while reading Esolen's was a great aid. (Ciardi includes a schematic of hell; Esolen does not, and that is a deficiency.)
Highly recommended.
I purchased this for a literature class I’m teaching, and I really like it.
The one word of warning I would give is that there are some works of art throughout in black and white depicting different levels of the inferno that include grotesque images as well as male and female nudity. Just a caution to those recommending the book to young readers beware of the visuals in this copy.
One nice thing, poetically, about this translation is that Esolen avoids most of the flaws of other translations. His poetry is neither ridiculously ornate nor boringly literal, as many have the tendency to be. He walks the tightrope gracefully, sticking to an iambic pentameter line. He doesn't attempt to force rhyme on the translation (the fatal flaw of the otherwise excellent translation by Dorothy Sayers), but does use a rhyme when it presents itself naturally.
This translation is highly recommended for anyone interested in The Divine Comedy. The notes section is scanty, especially compared to the Ciardi and Musa translations, but should be quite enough for even beginning readers.