The Inferno (Signet Classics) | Dante Alighieri | A powerful translation of a masterpiece

The Inferno (Signet Classics) | Dante Alighieri | One of the Best Translations

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The Inferno (Signe...

	The Inferno (Signet Classics) Dante Alighieri Signet Classics, 2001 - 288 pages average customer review:based on 106 reviews view larger image
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highly recommended

Considered to be one of the greatest literary works of all time- equal only to those of Shakespeare-Dante's immortal drama of a journey through Hell is the first volume of his Divine Comedy. The remaining canticles, The Purgatorio and The Paradiso, will be published this summer in quick succession.

A powerful translation of a masterpiece

There have been several excellent translations of Dante in the past few years, all worth reading in their own right. But I retain a special affection for John Ciardi's version, as it's the first one I ever read, at the unprepared & overwhelmed age of 15. I knew of its reputation as a major classic & I was ignorant enough to be unfazed by the prospect of reading it.

Well, to say that I was soon in over my head is an understatement! But Ciardi's fine, lyrical translation, as well as his extensive but always clear notes, enabled me to go on without drowning. And what a journey it was! At the time, I was simply dazzled by the invention & imagery of the work; now that I'm older, I can appreciate its many psychological & spiritual levels. Both the capstone of the Middle Ages & the gateway to the Renaissance, Dante's masterpiece is a stunning exploration of the religious & political world of its time. A lifetime of knowledge went into its creation, and every intricately woven thread of poetry shines like gold, without ever becoming pedantic.

Whether you accept or reject a literal belief in God & Hell, the poem remains an astonishing revelation of & descent into the human psyche, the heart of darkness. Dante's insight that the damned have ultimately chosen their fate remains psychologically true today ... how many people trapped in the private hells of their own lives have placed themselves there, bemoaning their fate while unable to find the courage or strength to escape it?

But that's merely one level of meaning in this magnificent work. A visionary epic of learning, of faith, of poetry, it becomes deeper & richer with every new reading. If you don't know the original language, the next best thing is to read as many translations as possible -- and I still recommend Ciardi's as one of the best. This is an illumination of Hell that can't dim or fade with the years -- most highly recommended!

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One of the Best Translations

This is an excellent translation by John Ciardi, a fine poet in his own right. But Ciardi displays admirable grace under fire (pun intended) to let Dante shine through without intruding with his (Ciardi's) own poetic intentions. My favorite translation is actually by Sandow Birk, but this is my second favorite. Brilliant notes are a highlight of this text. Everything is explained, everything!

Nice balance

Choosing which translation of Dante's Divine Comedy to read is a very subjective and personal question. Any translation involves balancing the meaning, feel, and artistry of the work, normally at the expense of at least one of these qualities. A major consideration is the topic of rhyme. The Divine Comedy has a complex rhyme scheme that suits itself well to the rhyme-rich language of Italian (where, unlike English, many words end in vowels). Translations that attempt to maintain any type of rhyme scheme often sound forced and usually compromise the meaning of the text.

At the other end of the spectrum are straight prose (spoken word) translations. Prose translations are great for communicating the story and it's nuances, however any poetical structure is lost. A third choice is a translation written in blank verse (iambic pentameter). This format allows freedom to communicate the work without rhyme, yet maintains a metrical structure. In addition, it's well suited for English (Shakespeare wrote much of his work in blank verse).

So, which version should you read? I have no vested interested in selling a particular author's work, my recommendations are just my personal opinion. My favorite version is by Mark Musa (written in blank verse). I also enjoy Anthony Esolen's translation (blank verse with some rhyme). They also both have good notes (a necessity). Ultimately, it's great to read a few and decide which version you like best, each has strengths and weaknesses.

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Sets the bar high for future B&N Classics

I ended up reading this book twice. The first time, I read straight through the poem and was thoroughly unimpressed. The story, as Longfellow himself says, is "tedious" and self-congratulatory and mostly a platform for attacking his enemies. It isn't really great reading.

So what made me read it a second time? This time, Barnes & Noble seems to have found the right person to write the introduction and put together endnotes and discussion notes. The second time through, I read the poem along with each endnote, and my appreciation of the book was dramatically better.

Without the background as presented in the introduction and endnotes, the story is hobbled from the outset. You simply can't understand the story and what Dante is trying to say without a clear understanding of the history and circumstances in which he wrote it. Who are these people in Hell? Why is Hell shaped the way it is? What is the meaning of each character in Hell? The endnotes answer all these questions, and make the story interesting.

The follow-on discussion notes pose an interesting question. Can a reader read and enjoy The Inferno as a book and story, rather than as "literature"? The answer, based on the story alone is a resounding no. However, this edition by Barnes & Noble Classics turns that right around and proves that with the right supporting material, even a "tedious" book like this can be made enjoyable.

5 stars for the excellent B&N addition, but -1 for the story itself.

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Mandelbaum for beauty, Hollander for notes, Esolen for arguments

On page 167 of his translation of the Inferno, Anthony Esolen gives the following definition: "A comedy is a song written in the humble style wherein the main character begins in grief and trouble and ends in happiness."

Wonderful, isn't it? Who wouldn't wish to be scooped up in such a Commedia?

But this Esolen, though he aims to be helpful, can be both pushy and pious. I had a boyfriend once just like him. This boyfriend used to get me in the car and start playing cassettes of motivational speakers. At certain points, he'd pause the tape and say, "See? See? That's what YOU are doing WRONG."

This is exactly how Esolen uses his commentaries on Dante. Everything Dante says Esolen uses for some heavy-handed moral point he wants to make.

On the other hand, it seems very appropriate to argue over Dante, who was, after all, the world's most artful picker of fights. Not once in the one hundred cantos of his Commedia does he say "Why can't we just get along?"

There's a lot to be said for an argumentative version. So I read Mandelbaum for beauty, Hollander for the notes, and Esolen for arguments.

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