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Die Göttliche Komödie, italienisch ursprünglich Comedia oder Commedia, in späterer Zeit auch Divina Commedia genannt, ist das Hauptwerk des italienischen Dichters Dante Alighieri. Sie entstand während der Jahre seines Exils und wurde. Dantes Inferno steht für: erster Teil der Göttlichen Komödie von Dante Alighieri, siehe Göttliche Komödie #1. Inferno/Die Hölle · Dante's Inferno (Computerspiel). Inferno / Die Hölle [Bearbeiten | Quelltext bearbeiten]. Grafische Darstellung von Dantes Weltbild nach Paul Pochhammer. Die Hölle ist ein einem antiken. Dantes Inferno: Der Astroführer durch die Unterwelt, Frey nach Dantes "Göttlicher Komödie" | Akron, Voenix | ISBN: | Kostenloser Versand für. In Dantes Inferno nimmt EA Gamer nun mit auf eine Reise in diese Hölle. Das Spiel wird für Playstation 3, Xbox und PSP veröffentlicht. Mit Dantes.
Dan Browns letzten literarischen Ergüssen (mit Tom Hanks in der Hauptrolle im Kino zu sehen) oder dem Computerspiel Dante's Inferno. Dante's Inferno. Inferno (Italian for "Hell") is the first part of Dante Alighieri's 14th-century epic poem Divine Comedy. It is followed by Purgatorio and Paradiso. In Dantes Inferno nimmt EA Gamer nun mit auf eine Reise in diese Hölle. Das Spiel wird für Playstation 3, Xbox und PSP veröffentlicht. Mit Dantes.
So here goes. I actually have two separate defenses. First, let's conside The other day, in the comment thread to her review of The Aeneid , Meredith called The Divine Comedy "lame": specifically, she objected to the fact that Dante put all the people he didn't like in Hell.
First, let's consider Dante's artistic choices, given that he's planned to write a huge epic poem where he's going to visit Hell, Purgatory and Heaven, each of which is divided up into a large number of smaller areas corresponding to differents sins and virtues.
Now, who is he going to meet there? One option would be to have allegorical figures directly representing Pride, Wrath, Charity etc.
Or he could just make people up, but then he wouldn't have any space for character development, and you'd never be able to keep track of all the invented figures.
Lindsay tried that route in A Voyage to Arcturus , and, even though the book's worth reading, he showed how hard it is to make it work.
Every time someone interesting turns up, they always seem to get killed fifteen pages later. I think the choice Dante made was the best one: to use real people.
Of course, it is a bit presumptuous to decide that the ones going to Hell are mostly guys he doesn't like, but nothing else makes sense.
If you want damned souls to populate the Hell of the Hypocrites, isn't Caiaphas, the high priest who falsely condemned Jesus, a sensible choice?
If you're looking for Traitors to Lords and Benefactors, then don't Brutus and Cassius fit pretty well? And every now and then he meets his friends down there too.
His beloved teacher Brunetto Latini is damned for sodomy, which shocks Dante just as much as it does me, but in his world-view it makes perfect sense; homosexuality is plain wrong, that's all there is to it.
Okay, that was my first defense. My second is that it's far too simplistic to say that Dante is self-righteously damning all his enemies and extolling his own virtues.
The theme that continually comes back through the first two books is that Pride is the root of all sin, and Dante is very conscious of his own sinful nature.
For example, he's way too happy to gloat over the fact that his enemy Filippo Argenti has been condemned to the Hell of the Wrathful, and Virgil gently points out the irony.
Then, later, he has to spend the whole of Book 2 climbing up Mount Purgatory, which is hard work. He's got plenty of sins to purge.
To me, the real problem with Dante is that his world is so very different from mine, and I keep having to scramble to the footnotes to get the necessary background; so it's hard to keep the flow of the book, since you're constantly being interrupted.
But even so, it's still a remarkable piece of work. We just don't think seriously any more about the nature of Good and Evil, Sin and Redemption.
Dante's world thought they were crucially important, and he's one of the few people who's still able to give us a window into that view of life.
It's nowhere near as irrelevant as we like to make out. Don Corleone, will this do? Or do I have to add footnotes as well? View all 11 comments.
An excellent translation--even better than John Ciardi. Like Ciardi, Pinsky is a real poet and makes Dante the poet come alive. His verse has muscularity and force, and his decision to use half-rhyme is an excellent one, since it allows us to attend to the narrative undistracted.
View all 9 comments. Sep 09, Joshua Nomen-Mutatio rated it really liked it Shelves: fiction. View all 40 comments. May 29, Hamad rated it really liked it Shelves: reads , paperbacks.
We must go deeper into greater pain, for it is not permitted that we stay. I have tried books as The princess saves herself in this one and Milk and simply did not like them because they felt like a Facebook or a Tumblr post more than a book.
And I was not disappointed. I will take this opportunity to thanks the genius-being who is the translator. To be able to capture the essence, the rhyme and the messages in another language while maintaining the originality is no easy task.
And he outdid himself in this one. People are tortured here and not supposed to develop. A point that Dante clearly emphasized is that the punishment is equal to the sin.
He decided that some people as Saladin and Prophet Mohamet were in hell and he even decided what circles to put them in.
A slightly offending thing because it was clearly biased. View all 22 comments. Oct 08, Nefariousbig rated it it was amazing Shelves: reviewed.
LIMBO - A place of monotony, here the souls are punished to wander in restless existence while they moan helplessly in echoes between the ruins of a temple ii.
LUST - Surrounded by erotic representations, those overcome by lust are forced to watch and experience disgusting things, ultimately being condemned to drown in the menstrual river iii.
GLUTTONY - The circle itself is a living abomination, a hellish digestive system revealing horrific faces with mouths ready to devour the gluttons over and over for eternity iv.
HERESY - The giant demon watches closely over his fire pit, dwarfing the damned that are dragging the new arrivals in the boiling lava.
Those who committed the greatest sins against God are getting a special treatment inside the temple where they are doomed to burn for eternity in the scorching flames vii.
I claim no ownership to any information in this review, and I own absolutely no rights to any of the property mentioned herein.
View all 17 comments. Ugolino, a former governor of Pisa, is feasting on the neck of Archbishop Ruggieri.
Ugolino was trapped in a tower along with his four sons. Ugolino concludes: "Then hunger proved more powerful than grief.
I MEAN. Dante is often called a "theological poet. Dante, you madman. Mar 11, James rated it really liked it Shelves: 3-multi-book-series , 4-written-preth-century , 1-fiction.
Book Review 4 out of 5 stars to Inferno , the first of three books in the "Divine Comedy" series, written around by Dante Alighieri.
A few pieces of background information for those who many not know, before I get into a mini-review. Inferno, which means "Hell" was one of three books Dante wrote in the 14th century, essentially about the three spaces people occupy after death: Hell Inferno , Purgatory and Heaven Paradiso.
I've only read Inferno, so I'm not able to discuss much Book Review 4 out of 5 stars to Inferno , the first of three books in the "Divine Comedy" series, written around by Dante Alighieri.
I've only read Inferno, so I'm not able to discuss much on the other two, but I'd like to some day. They were not written in English, so I have read a translated version.
These works are considered comparable in fame and beauty as those of William Shakespeare. In the 14th century, religion was one of the only things people did with their lives besides work and raise a family.
They had a lot of time to spend on it, wondering what might happen. Dante captures the exact sentiments we've all felt throughout our lives, and he displays it through the nine circles or gates of hell.
He presents it as a torture for all those who did bad things while they were alive. The story, in its basic form, is Dante himself traveling in a boat through the river that runs through Hell, stopping to see each realm.
He's led by the famous poet Virgil. He encounters people or archetypes of people he knew and those he's heard of. Essentially, it's a story of justice and the contradictions in religious beliefs for all of God's followers.
Dante pushed people to think about their actions and beliefs. And he created a story based on his own journey to say everything he felt about what he's experienced in life.
It's full of questions. It's been the basis for so many movies, books and plays in the future. It's so often quoted or referenced, it's literally one of the most famous works around Though it's no where near a comparison, it reminds me a little bit of The Ninth Gate, a movie with Johnny Depp, that I love, about people trying to reach the Devil.
I've read one of his books and plan to read The Club Dumas soon. As for this one, I encourage everyone to find a passage from The Divine Comedy, even if you prefer Paradise or Purgatory, something a tad more positive, just to see the language and the lyrics Dante shares.
It's beautiful. I could go on and on, but hopefully this is enough to wet your appetite. About Me For those new to me or my reviews I write A LOT.
Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by. View 2 comments.
If you're into stuff like this, you can read the full review. What I love about Dante is how he doesn't invoke the Muses, unlike Homer, or Virgil, and that he goes straight to the heart of the matter, and straight in to the poem, i.
In the middle of his life Dante is lost in a dark wood, the man he most admi If you're into stuff like this, you can read the full review.
In the middle of his life Dante is lost in a dark wood, the man he most admires, a fellow poet, takes him by the hand and leads him through hell and purgatory, but when they reach the entry for Paradise, Virgil must give way to Beatrice, love is greater than wisdom, Dante's love for Beatrice, his desire for wisdom, what follows is exquisite poetry, and both Botticelli and Dali make an effort to capture the genius that resides there, as words, Virgil's trade, and Dante's, cede to inner knowing, as they ascend, then transcend, life, and reach beyond star and sun into the vast blue.
TS Eliot wrote that Dante and Shakespeare "divide the world between them-there is no third. I very much doubt it.
The s Penguin verse translation I read by Mark Susa was rubbish. Now I listened to an Audiobook with a translation by Robert Pinsky.
Think I'll take T. Eliot's advice: use a prose translation if you must but learn Italian if you're serious about getting anything out of Dante's poetry Portuguese and Italian both came from the same mold, Latin, but they're two very different languages.
If you're into Medieval Literature, read on. Jan 08, Leo. Maybe Dante was referring to the levels of materialism. The more one has the more one wants, spiraling downwards, deeper and deeper until the matter consumes.
So dense and dark with matter and at absolute evil, Hell, where Satan resides. Nov 15, Adina rated it liked it Shelves: classics , italy , the-literature-book-pres.
Another book in verse that I read and it did not make me scream as in the pains of hell. Pun intended. The divine Comedy is a post-classical epic poem, apparently.
It is an epic because it is long such as the Iliad and Aeneid , it talks about heroic deeds, it is an allegory and it does have history elements, of Florence to be precise.
What makes this poem different from others is that the narrator is inside the story instead of omniscient compared with the other epics.
Moreover, elements of Chri Another book in verse that I read and it did not make me scream as in the pains of hell. Moreover, elements of Christianity are introduced in the mix.
The Divine Comedy is structured in three parts Hell, Purgatory and Heaven which is expected if I think about the Holy Trinity and the meaning of number 3 in Christianity.
I only read Inferno so I will only discuss that part. Our hero finds himself in a forest which apparently is the symbol of a life of sin.
He tries to climb a mountain but it is attacked by wild beasts. The poet Virgilius, who else, comes to his aid and convinces the narrator to follow him on journey through Hell and beyond in order to find salvation.
Dante's Hell has 9 levels, representing 9 sins. I might not have chosen the same order, for example the sins of violence are less important than fraud I took them as they came.
I listened to Robert Pinsky's translation, a modernised version, which I think made the poem bearable for me.
After failing to read The Iliad I believe it is very important to find a decent translation, one that makes the text more accessible to a novices to this genre, like me.
The Inferno, part one of Dante's epic poem, the Divine Comedy, is the most imaginative and lyrical poetry I have read so far in my life.
I'm yet to read Purgatory and Paradise, but in my honest view, I doubt if any other poetic work can surpass Dante's Divine Comedy.
Inferno is Dante's experience in walking through Hell. His guide is no other than Virgil, the famous poet who wrote Aeneid, sent by Beatrice, Dante's devoted love interest, who he says is in Paradise.
Dante's version of Hell is infl The Inferno, part one of Dante's epic poem, the Divine Comedy, is the most imaginative and lyrical poetry I have read so far in my life.
Dante's version of Hell is influenced by Christian theology, philosophy and former literary works of Virgil, Ovid, Homer and the like.
Virgil's Aeneid is said to be the most associated literary text that has influenced Divine Comedy the most. Dante's Hell is funnel-shaped and has nine tiers that punish different sins.
At the bottom is Lucifer. It is fascinating to see how imaginative and creative Dante has been in inventing the different tiers of hell, the sins which are punished in them and the punishment types.
The punishments which begin lightly in the first tier gets gruesome as you go down the tiers. Some of the characters sinners in the Hell include the real-life people Dante knew some who were not even dead at the time of Dante's fictitious journey through hell as well as classical and mythological characters that were drawn from famous, old literary works.
What I was awestruck the most is the graphic account of Hell given in such beautiful lyrical verses. Even the gruesome details of punishment of the sinners were made less horrific because the verses describing them were melodious.
And the sinners, chosen from existed and existing people and some of the most loved mythical characters, added realism to the poem.
I'm so amazed that a work written in the thirteen century can have such a strong impression on modern readers.
But given the quality of the work, the realism with which the work is so imbued, it is not surprising the reverent popularity the Divine Comedy has acquired and maintained throughout the centuries.
The graphic description of each circle in Hell did give me the intended eerie dismal feeling.
With this reading, I understood the poem better, and that understanding helped me to appreciate full well the power of imagination and creativity in Dante.
Inferno is undoubtedly one of the masterpieces in epic poetry. View all 10 comments. This is such an interesting book, though definitely very hard to get through.
I think if I was able to read it in Italian it would be a little easier as it would actually be read like Dante intended, but it's still really cool to see all the concepts!
This is such an influential piece of literature and is referenced SO MUCH in culture that it is really cool to have a basis for it.
I think I may reread this in a different rhyming translation next time to see what that would be like, though I know the rhyming translation leaves a lot of the content out, or I may read a more modern translation so it will be easier for me to understand.
Either way, I'm really glad I read this! Dante's version of hell is so interesting and poetic har har that it's hard not to like it.
If you would rather NOT read old english, pick something else. I read Longfellow's translation the whole way through and just looked at another why i waited this long I have no idea and the other was a lot easier to read!
Before I start talking about the book proper, I have a confession to make: I wasn't sure I really wanted to read philosophical poetry written seven centuries ago.
I had doubts about style, quality of translation and my own lack of literary background in decyphering the numerous Christian and mythological references, not to mention political and cultural trivia from Dante's Florence.
Thanks to my Goodreads friends, I took the plunge and I can report back that it was well worth the effort. Even be Before I start talking about the book proper, I have a confession to make: I wasn't sure I really wanted to read philosophical poetry written seven centuries ago.
Even better, it wasn't an effort, but a joyride, thanks primarily to my lucky pick of the Ciardi translation for my first foray into the phantastical world of Dante.
So my answer to the questions: can we still read Dante for pleasure and not for academic study is a resounding yes.
Another big Yes is the answer to the relevance of the Commedia for the modern reader. The fundamental soul searching questions about the relationship between spiritual and material life, morality and political power, religious and secular governance, reason and faith remain unchanged over centuries and must still be answered by each of us after our own fashion.
Dante is as great a choice as the lightbearer showing the way to redemption, as Virgil was to the poet on his descent into Hell.
Nell mezzo del camin di nostra vita mi ritrovai per una selva oscura che la diritta via era smarrita. Page after page of commentary has been written about these famous opening lines.
The key to deciphering the poem is here: an allegorical journey of self discovery and liberation from doubts, uncertainty and fear. But Human Reason on its own is not enough, and salvation for Dante can come only by way of Divine intercession.
Somebody up there loves him Beatrice, the love of his life, symbol of purity and innocence, taken away to Heaven in her early youth. She sends a guide to help Dante on his perilous journey: the Roman poet Virgil, the mentor and personal hero of our narrator.
Together they must pass through the underground halls of the damned, there to witness the justice administered by a stern God upon sinners of every variety.
Only after renouncing and condemning sin, can the upward journey begin. Lasciate ogne speranza, voi ch'intrate Another famous quote that has entered into the world's cultural heritage marks the gate to the depths of eternal torment and despair.
I have no intention of enumerating every level of the arhitecture of Hell and every lost soul that Dante and Virgil encounters.
What impressed me most though was the rigid organization and the careful planning of each punishment, designed to reflect the gravity of the crime and to correctly assign the torment most appropriate for each category of sinner.
For example, thieves must steal from one another the very shapes in which they appear. Nothing is left to chance, and accurate maps can and have been drawn of the allegorical geography of Hell, its nine concentric and descending level, its dark rivers and fiery pits.
Instead of chaos and anarchy I discovered an inflexible and merciless order, with Minos as the judge who weights each soul's guilt and then sends them to their correct circle and niche, like with like, crime and punishment linked together for eternity.
There is no place for pity here. Who is more arrogant within his soul, who is more impious than one who dares to sorrow at God's judgment.
The escalation of dread and horror is well served by the poet's imagination, who starts the journey with sights and dialogues still anchored and related to the world above, but grows more grim and grotesque as the deeper levels are reached.
Monsters and tortures grow more elaborate, more frightening, more inventive with each circle, until the senses are overwhelmed and humbled.
The main lesson in Hell is to be aware of the wages of sin: O endless wrath of God: how utterly thou shouldst become a terror to all men who read the frightful truths revealed to me!
And an example of a gargoyle riding a centaur, an image worthy of the brush of Brueghel: Upon his shoulders, just behind his head a snorting dragon whose hot breath set fire to all it touched, lay with its wings outspred.
Coming back to the sinners Dante meets in his downward journey, it should be noticed that he is not above paying back some personal political woes, by placing his contemporaries and adversaries inside particularly gruesome torture chambers.
These human foibles, coupled with the apparent vanity and pride of the poet conscious of his worth as an equal of the ancient masters, are a source of humour and gentle irony at his own fallible nature, a more enchanting and entertaining portrait than his pious and hollier than thou alter ego.
As a literary device, Dante uses prophecy to warn about the risks of the future of his beloved Florence, from which he was exiled by conspiracies within his own party, aided and abetted by the papal legate: Two are honest, but none will head them.
There, pride, avarice, and envy are the tongues men know and heed, a Babel of despair. I should also mention the major political aspect of the poem, on one hand denouncing the corrupt and venal warring families of Tuscany, and on the other launching impassioned attacks on the degradation of the church in its power games and search for material governance.
These ideas will be later developed into a pamphlet De Monarchia that was quickly put on the list of forbidden books by the papacy.
Dante argues in favor of a secular government coupled with a church that renounces wealth and power and takes care only of the spiritual needs of its flock.
He is well ahead of his time in this humanist plea for separation of powers and in his references to the ancient philosophers.
Another major appeal of the journey for me was the recognition of many of the mythological characters residing in Hell.
The most often referenced sources are Ovid with his metamorphoses and Virgil with his Aeneid, but the erudition and the variety of Dante's interests history, cosmology, art, etc are reason enough to name him among the greatest personalities of a nascent Renaissance movement.
Much has also been said and praised about his liberation of the Italian language from the restrictions and limitations of Church latin, putting his vision into the live and colourful 'vulgata' dialect of the people.
John Ciardi has this to say about the style of the poem, and he should know best, as a poet himself and a native speaker of Italian : I do not imply that Dante's is the language of common speech.
It is a much better thing than that: it is what common speech would be if it were made perfect. Like Cervantes and Shakespeare centuries later, Dante stands as a national idol that defines a culture and makes it universal.
I did try to read some of his verses in the original Italian and I was struck by the musicality and the rhythm that is so difficult to translate in another language.
Ciardi did an excellent job in keeping the faith with this singsong quality of the poem, even if he is said to have taken liberties with the actual content.
Not being a scholar or a purist, I was well satisfied with the result, especially as he kept the introductions and the end of canto notes to a minimum, allowing me to get immersed in the story instead of chasing endless commentaries and interpretations.
The Ciardi translation is also the reason I am reviewing separately the three books that comprise the Commedia The Divine was apparently an appelation added by later commentators , as I have them published individually.
I should warn though that The Inferno is not a standalone book. In the big concept of Dante's allegory, it is only the first step towards salvation, and the next two books are just as important in the final judgement.
I had several more notes and quotes saved, but I'll stop for now, hoping I've managed to convince some of my friends to put Dante on their reading lists.
In the words of Arnie: "I'll be back! Give us one of those sultry little smiles and say you're surprised! Say you can't get over it!
Say it's just what you've always wanted and it's even more fun than a day at the spa because, let's face it, hunny honey, on my salary I couldn't afford to give you a day at the spa.
Because it's all yours-- Because we think And wouldn't old E. Shepard just have a fit if he could see us all together now! Oh, wait a minute Here's a note from the Poet too.
He just wants to say: To see your face is like a foretaste of Paradise. Isn't that sweet? His friend Piglet was with him to keep him company.
After they had been walking for some time, they looked around and noticed there was a Man walking along beside them. He had rather strange clothes on and looked lost.
Piglet worried that perhaps this was Trespassers William come to reclaim his house and his sign. You see, Pooh's little friend had told everyone that Trespassers was his grandfather, but it wasn't really true!
And I don't really want to live with Owl. He tells such long stories about his relations! Oh dear! Christopher Robin comes to visit too--when he's not Bisy Backson, that is, or imagining adventures in his room.
You see, he'd already noticed being pretty clever for such a little Piglet that the Man tended to talk in poetry.
But it wasn't in songs or hums, like the ones Pooh made up, which was rather refreshing for a change.
The Man eyed them quizzically. Perhaps he was surprised that they had never heard of him. He was a VIP after all. That means a Very Inflooenshul Poet.
But he was polite, so he merely said that he had met some other Animals earlier that day. Did he Bounce at you?
They are more stripedy-looking. So does his cousin Hobbes, for that matter. Oh Pooh, I don't like Jagulars!
Couldn't we go home? Now it pains me to criticize Pooh, who is one of my very bestest friends. After all, I've known him almost as long as Christopher Robin.
But I have to admit it is rather bad manners to do this kind of thing. But let us get back to our story. Pooh had just laughed, as I said, at his little joke.
But Piglet looked startled. And the Very Inflooenshul Poet looked not only startled, but confused and offended. It's about time I had a little something anyhow.
But you'll have to be careful coming into my house. You're rather big and tall, and I'd hate for you to get stuck in my doorway.
It had turned out to be a very bewildering day. He was sad because he was missing his little friend Beatrice.
She doesn't come into this Story until later, but I just thought it might be a helpful kind of thing to know.
And when Pooh mentioned having a little something--well, that made him feel even worse , because he was getting hungry too.
He didn't ask for much, but the thing he really liked best was Italian food. And somehow he doubted he was going to get very hearty fare at Pooh's.
He was starting to abandon hope of finding anything at all to eat, let alone making his way out of the Hundred-Acre Wood and back to Florence.
Then he froze in his tracks. Pooh and Piglet looked back, wondering why he had stopped. Pooh even made an impatient little gesture with one paw not the faux one, the other one , to tell him to stop dawdling and come along.
But he could not move, for he was very, very frightened. Wave after wave of terror was washing over him.
In fact, he looked nearly as terrified as Piglet the day he'd been introduced to Kanga's bathtub!
For the Very Inflooenshul Poet had just realized that he was starting to talk like Pooh. View all 19 comments.
This one has chronology, introduction, map of Italy, plan of Hell plus commentaries and notes at the end. The main text itself is shown with Italian text on the left side, English on the right side.
Commentaries include many comments on the linguistic details that I don't remember the paperback Penguin version having.
There is al review to cover - hardback, red devils cover art: I didn't read the main text of this one, but I think I will read the English half at some point.
There is also a cord for bookmarking one's place. I don't know exactly why I would want another copy of this book, but it just looked good.
The Inferno edit: I mean, Hell is not my favorite of the three, but I can see why it would be the most popular - it certainly can feel exciting and the religion part is less in the front.
And also you can feel the climb from how especially the Paradise can feel like a place where air is thin : So getting this was more about liking the whole, not just this part.
But it is enjoyable kind of a book. View all 6 comments. About Translation It took me a while to decide on the translation to use.
After a few days of research and asking around, I shortlisted Musa and Hollander. Went with Hollander since it seemed better organized. Turned out to be a good choice.
The translation is fluid and easy on the ear. The Italian version is also available when you want to just read the Italian purely for the sound of verse.
I am no judge of the fidelity of the various translations, but this was an easy read and that was good.
Th About Translation It took me a while to decide on the translation to use. There is enough difficulty in the poem without the translation adding to it.
To me the more important consideration in choosing the edition was the quality of the footnotes and the ease of accessing them. About Footnotes Here the notes are scholarly yet accessible with very little arcane stuff and mind you this is a classic for which proper footnotes are essential to the reading to keep up with the erudition classical, political, geographical, etc displayed by Dante throughout the Comedia.
The greatest poetry in Dante resides in the literal sense of the work, its graphic descriptions of the sinners, their characters, and their punishments.
Because of that demand, because of the immense and minute scholarship that has been expended upon Dante, and because too few English readers have been pointed in the right direction to him, Dante has acquired a reputation as an immensely difficult poet.
It is true that Dante writes in depth. Though his language is normally simple, his thought is normally complex.
But if the gold of Dante runs deep, it also runs right up to the surface. A lifetime of devoted scholarship will not mine all that gold; yet enough lies on the surface—or just an inch below—to make a first reading a bonanza in itself.
All one really needs is some first instruction in what to look for. Thereafter he need only follow the vein as it goes deeper and deeper into the core of things.
But of course, footnotes is not all. The footnotes are like our Virgil through these pages, the guide that is Reason.
But at some point we have to surrender to the Poet to truly fathom its depth of feeling. Earlier I had read the Inferno with Longfellow, and sad to say I had been left as scared as Dante at the beginning of his own journey after that encounter.
Overall the Ciardi translation is grander and more familiar - since a good chunk of the famous quotes and phrases come from it, and Ciardi also tries to force us into looking at the symbolism of the poetry overtly by pointing it out at the very beginning of his cantos.
This is helpful, but in the final analysis, the Hollander is the better choice for the new reader. So in case you are searching for the right translation and using that as an excuse to procrastinate like me , you can go with Hollander and get down to it.
How shall I say what wood that was! I never saw so drear, so rank, so arduous a wilderness! Its very memory gives a shape to fear.
Death could scarce be more bitter than that place! How I came to it I cannot rightly say, so drugged and loose with sleep had I become when I first wandered there from the True Way.
But at the far end of that valley of evil whose maze had sapped my very heart with fear! I found myself before a little hill and lifted up my eyes.
Its shoulders glowed already with the sweet rays of that planet whose virtue leads men straight on every road, and the shining strengthened me against the fright whose agony had wracked the lake of my heart through all the terrors of that piteous night.
Ah me! So bitter is it, death is little more; But of the good to treat, which there I found, Speak will I of the other things I saw there.
I cannot well repeat how there I entered, So full was I of slumber at the moment In which I had abandoned the true way. Ah, how hard it is to tell the nature of that wood, savage, dense and harsh— the very thought of it renews my fear!
It is so bitter death is hardly more so. But to set forth the good I found I will recount the other things I saw. How I came there I cannot really tell, I was so full of sleep when I forsook the one true way.
But when I reached the foot of a hill, there where the valley ended that had pierced my heart with fear, looking up, I saw its shoulders arrayed in the first light of the planet that leads men straight, no matter what their road.
Then the fear that had endured in the lake of my heart, all the night I spent in such distress, was calmed. View all 15 comments.
Mar 18, JV semi-hiatus rated it liked it Shelves: , classics , poetry. Justice moved my maker on high. Divine power made me, Wisdom supreme, and primal love.
Before me nothing was but things eternal, And eternal, I endure. Abandon all hope, you who enter here. My head is now a big mess. On a serious note, what an arduous journey through hell!
Dante illustrates In "Through me the way to the city of woe, Through me the way to everlasting pain, Through me the way among the lost.
Dante illustrates Inferno with an impressive yet grotesque imagery of the afterworld — the nine circles filled with sadistic, capital punishments depending on the gravity of one's sins.
Dante is a genius in being able to incorporate diverse interests — religion, theology, philosophy, science, politics, mythology, history, the arts — into one epic poem that stretched up to Purgatorio and Paradiso I'll probably read the other two at a later date.
Through Dante's works, he lets us examine life as a whole in relation to our actions, experiences, and beliefs. The verses alone are subject to numerous interpretations and deliberations which I think is a mark of a great literature — one that stood the test of time due to its relevance, substance, style, language, and vivid art.
Fave quotes Robert Hollander and Jean Hollander's version of Dante's Inferno : "Love, which absolves no one beloved from loving, seized me so strongly with his charm that, as you see, it has not left me yet.
Sitting on feather cushions or stretched out under comforters, no one comes to fame. Without fame, he who spends his time on earth leaves only such a mark upon the world as smoke does on the air or foam on water.
May 27, Sara rated it it was amazing Shelves: classics , gutenberg-download , poetry , literary-fiction , religion.
In the journey of my life I found myself in a dark wood, for I had lost the right path. Even in the upper levels, the punishments seem horrendous, but each is cleverly designed to fit the sin itself and, while I might have ranked the seriousness of the sins in a different way, the justice of the punishment is always evident.
There is no need for me In the journey of my life I found myself in a dark wood, for I had lost the right path. Time has established that beyond doubt.
And, his work is still alive and allusions to it are all around us. This event occurred in , after the date in which the poem is set, but before the poem was written [ 13 ] Canto VI.
Those whose attitude toward material goods deviated from the appropriate mean are punished in the fourth circle.
They include the avaricious or miserly including many "clergymen, and popes and cardinals" [ 15 ] , who hoarded possessions, and the prodigal , who squandered them.
The two groups joust , using as weapons great weights which they push with their chests:. They struck against each other; at that point, each turned around and, wheeling back those weights, cried out: Why do you hoard?
Why do you squander? The contrast between these two groups leads Virgil to discourse on the nature of Fortune , who raises nations to greatness, and later plunges them into poverty, as she shifts "those empty goods from nation unto nation, clan to clan.
In the swamp-like water of the river Styx, the wrathful fight each other on the surface, and the sullen lie gurgling beneath the water, withdrawn "into a black sulkiness which can find no joy in God or man or the universe.
On the way they are accosted by Filippo Argenti , a Black Guelph from a prominent family. When Dante was forced to leave Florence, Argenti took all his property.
When Dante responds "In weeping and in grieving, accursed spirit, may you long remain," [ 21 ] Virgil blesses him. Literally, this reflects the fact that souls in Hell are eternally fixed in the state they have chosen, but allegorically, it reflects Dante's beginning awareness of his own sin [ 22 ] Cantos VII and VIII.
The lower parts of Hell are contained within the walls of the city of Dis , which is itself surrounded by the Stygian marsh.
Punished within Dis are active rather than passive sins. The walls of Dis are guarded by fallen angels. Virgil is unable to convince them to let Dante and him enter, and the Furies consisting of Alecto , Megaera , and Tisiphone and Medusa threaten Dante.
An angel sent from Heaven secures entry for the poets, opening the gate by touching it with a wand, and rebuking those who opposed Dante.
Allegorically, this reveals the fact that the poem is beginning to deal with sins that philosophy and humanism cannot fully understand.
Virgil also mentioned to Dante on how Erichtho sent him down to the lowest circle of Hell to bring back a spirit from there. In the sixth circle, Heretics , such as Epicureans who say "the soul dies with the body" [ 23 ] are trapped in flaming tombs.
Dante holds discourse with a pair of Epicurian Florentines in one of the tombs: Farinata degli Uberti , a Ghibelline posthumously condemned for heresy in ; and Cavalcante de' Cavalcanti , a Guelph , who was the father of Dante's friend and fellow poet Guido Cavalcanti.
The political affiliation of these two men allows for a further discussion of Florentine politics Canto X. In response to a question from Dante about the "prophecy" he has received, Farinata explains that what the souls in Hell know of life on earth comes from seeing the future, not from any observation of the present.
Consequently, when "the portal of the future has been shut," [ 24 ] it will no longer be possible for them to know anything. Pausing for a moment before the steep descent to the foul-smelling seventh circle, Virgil explains the geography and rationale of Lower Hell, in which violent and malicious sins are punished.
In particular, he asserts that there are only two legitimate sources of wealth: natural resources "nature" and human activity "art".
Usury , to be punished in the next circle, is therefore an offence against both: [ 25 ]. The seventh circle houses the violent. Its entry is guarded by the Minotaur , and it is divided into three rings:.
The last two circles of Hell punish sins that involve conscious fraud or treachery. These circles can be reached only by descending a vast cliff, which Dante and Virgil do on the back of Geryon , a winged monster traditionally represented as having three heads or three conjoined bodies, [ 33 ] but described by Dante as having three mixed natures: human, bestial, and reptilian.
The fraudulent—those guilty of deliberate, knowing evil—are located in a circle named Malebolge "Evil Pockets" , divided into ten Bolgie , or ditches of stone, with bridges spanning the ditches:.
The ninth circle is ringed by classical and Biblical giants , who perhaps symbolize the pride and other spiritual flaws lying behind acts of treachery.
The traitors are distinguished from the "merely" fraudulent in that their acts involve betraying a special relationship of some kind.
There are four concentric zones or "rounds" of traitors, corresponding, in order of seriousness, to betrayal of family ties, betrayal of community ties, betrayal of guests, and betrayal of liege lords.
In contrast to the popular image of Hell as fiery, the traitors are frozen in a lake of ice known as Cocytus , with each group encased in ice to progressively greater depths.
In the very centre of Hell, condemned for committing the ultimate sin personal treachery against God , is Satan. Satan is described as a giant, terrifying beast with three faces, one red, one black, and one a pale yellow:.
Satan is waist deep in ice, weeping tears from his six eyes, and beating his six wings as if trying to escape, although the icy wind that emanates only further ensures his imprisonment as well as that of the others in the ring.
Each face has a mouth that chews on a prominent traitor, with Brutus and Cassius feet-first in the left and right mouths respectively.
These men were involved in the assassination of Julius Caesar —an act which, to Dante, represented the destruction of a unified Italy and the killing of the man who was divinely appointed to govern the world.
Judas is being administered the most horrifying torture of the three traitors, his head gnawed by Satan's mouth, and his back being forever skinned by Satan's claws.
What is seen here is a perverted trinity: Satan is impotent, ignorant, and full of hate, in contrast to the all-powerful , all-knowing , and loving nature of God.
The two poets escape Hell by climbing down Satan's ragged fur, passing through the centre of the earth with a consequent change in the direction of gravity, causing Dante to at first think they are returning to Hell , and they emerge in the other hemisphere described in the Purgatorio just before dawn on Easter Sunday, beneath a sky studded with stars Canto XXXIV.
Wikimedia Foundation. Dante and his Divine Comedy in popular culture — Dante Alighieri and his masterpiece, Divine Comedy , have been a source of inspiration for countless artists for almost seven centuries.
Kevin Knight. Dante Alighieri and the Divine Comedy in popular culture — The life and works of Dante Alighieri, especially his masterpiece, the Divine Comedy, have been a source of inspiration for many artists for seven centuries.
Some notable examples are listed below. Dante of Erminio Blotta, at Bd. Dante Alighieri , , Italian poet: author of the Divine Comedy.
Dante's Inferno film — For the film, see Dante s Inferno film. Dante s Inferno Dante s Inferno poster. Dante Alighieri — — Italian poet and philosopher.
Born in Florence, Dante sought the consolations of philosophy after the death in of his beloved Beatrice Portinari, who was the wife of the painter Simone de Bardi.
Dante Alighieri — Dante redirects here. For other uses, see Dante disambiguation. For the ship, see Italian battleship Dante Alighieri.
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For other uses, see Dante's Inferno disambiguation. Sayers , Hell , notes on pageDante's gallery of rogues New York : Council on national literatures click at this page, cop. View all 87 comments. The Blacks exiled Dante, confiscating his goods and condemning him to be burned if he should return to Florence. There's a problem loading this menu right. And he outdid himself in this one. Good book as a. Symbolic of sinful behaviour https://emmabodabanan.se/deutsche-filme-stream/schuldfrage.php desires, the trio of creatures pursue Dante into darkness, wherein Virgil - a deceased See more poet representing human cognition and reason - appears. Der Kenner aller Sünden legt mit Hilfe seines Schweifes daraufhin fest, in source Kreis der Https://emmabodabanan.se/deutsche-filme-stream/serie-the-expanse.php hinabsteigen muss. Jedoch ist der Weg durch die einzelnen Himmel mit ihren theologischen Bedeutungen und Kino lГјchow im Buch schon schwer zu verstehen und erst recht im Bühnenstück…. Wie schon zuvor Charon muss auch Minos erst von Vergil beschwichtigt werden. Dante selbst war Guelfe, wie sich u. Über einen Pfad gelangen sie entlang einem Bach zurück zur Lichtwelt, zu den Sternen. Den Gedanken der Abrechnung mit den Feinden legt er z. Das Paradiso besitzt mehr theologische Natur als die Hölle und das Fegefeuer. Dan Browns letzten literarischen Ergüssen (mit Tom Hanks in der Hauptrolle im Kino zu sehen) oder dem Computerspiel Dante's Inferno. Der Höllengesang aus Dante Alighieris "Divina Commedia" - Canto 33 dell`inferno: emmabodabanan.se: Corinna Baspinar: Libros en idiomas extranjeros. La Divina Commedia, Inferno XVIII. Vergil und Dante im achten Kreis der Hölle (Malebolge), 1. und 2. Bolgia: Bestrafung der Kuppler und Verführer, der. Dante's Inferno. Inferno (Italian for "Hell") is the first part of Dante Alighieri's 14th-century epic poem Divine Comedy. It is followed by Purgatorio and Paradiso.