The Inferno
Autor Dante Alighieri Traducere de Henry Wadsworth Longfellowen Limba Engleză Hardback – 14 dec 2021
The Divine Comedy, written in the early fourteenth century by Dante Alighieri, continues to be essential reading for lovers of literature. The Inferno is the first part of Dante's masterpiece, The Divine Comedy. In this epic poem, Dante is led by the poet Virgil into the nine circles of Hell--limbo, lust, gluttony, greed, anger, heresy, violence, fraud, and treachery--culminating in a meeting with Satan himself. Along the way, he meets a number of interesting figures. Complete and unabridged, this beautifully designed, hardcover edition with jacket features an introduction by Renaissance literature and history scholar John Lotherington and a biography detailing the life and times of Dante Alighieri. Essential volumes for the shelves of every classic literature lover, the Chartwell Classics series includes beautifully presented works and collections from some of the most important authors in literary history. Chartwell Classics are the editions of choice for the most discerning literature buffs. Other titles in the Chartwell Classics Series include: Complete Fiction of H.P. Lovecraft; Complete Grimm's Fairy Tales; Complete Novels of Jane Austen; Complete Sherlock Holme; Complete Tales & Poems of Edgar Allen Poe; Complete Works of William Shakespeare; Divine Comedy; Alice's Adventures in Wonderland and Other Tales; The Essential Tales of H.P. Lovecraft; The Federalist Papers; The Call of the Wild and White Fang; Moby Dick; The Odyssey; Pride and Prejudice; The Essential Grimm's Fairy Tales; Emma; The Great Gatsby; The Secret Garden; Anne of Green Gables; The Essential Tales and Poems of Edgar Allan Poe; The Phantom of the Opera; The Communist Manifesto and Das Kapital; Republic; Frankenstein; Twenty Thousand Leagues Under the Sea; The Picture of Dorian Gray; Meditations; Wuthering Heights; Alice's Adventures in Wonderland and Through the Looking-Glass; A Tales of Two Cities; Beowulf; The Strange Case of Dr. Jekyll and Mr. Hyde and Other Stories; Adventures of Huckleberry Finn; Little Women
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Specificații
ISBN-13: 9780785839804
ISBN-10: 0785839801
Pagini: 312
Dimensiuni: 152 x 196 x 26 mm
Greutate: 0.45 kg
Editura: CHARTWELL BOOKS
ISBN-10: 0785839801
Pagini: 312
Dimensiuni: 152 x 196 x 26 mm
Greutate: 0.45 kg
Editura: CHARTWELL BOOKS
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Recenzii de la cititorii Books Express
Ioana Andreia Sandru a dat nota:
It was rather hard to understand it and so I read it twice. The second time reading it was more enjoyable because I understood the poem better, and that helped me appreciate the power of imagination and creativity. Inferno is undoubtedly one of the masterpieces in epic poetry.
Notă biografică
Dante Alighieri was born in Florence, Italy in 1265. His early poetry falls into the tradition of love poetry that passed from the Provencal to such Italian poets as Guido Cavalcanti, Dante's friend and mentor. Dante's first major work is the Vita Nuova, 1293-1294. This sequence of lyrics, sonnets, and prose narrative describes his love, first earthly, then spiritual, for Beatrice, whom he had first seen as a child of nine, and who had died when Dante was 25. Dante married about 1285, served Florence in battle, and rose to a position of leadership in the bitter factional politics of the city-state. As one of the city's magistrates, he found it necessary to banish leaders of the so-called "Black" faction, and his friend Cavalcanti, who like Dante was a prominent "White." But after the Blacks seized control of Florence in 1301, Dante himself was tried in absentia and was banished from the city on pain of death. He never returned to Florence. We know little about Dante's life in exile. Legend has it that he studied at Paris, but if so, he returned to Italy, for his last years were spent in Verona and Ravenna. In exile he wrote his Convivio, kind of poetic compendium of medieval philosophy, as well as a political treatise, Monarchia. He began his Comedy (later to be called the Divine Comedy) around 1307-1308. On a diplomatic mission to Venice in 1321, Dante fell ill, and returned to Ravenna, where he died.?
Allen Mendelbaum's five verse volumes are: Chelmaxions; The Savantasse of Montparnasse; Journeyman; Leaves of Absence; and A Lied of Letterpress. His volumes of verse translation include The Aeneid of Virgil, a University of California Press volume (now available from Bantam) for which he won a National Book Award; the Inferno, Purgatorio, and Paradiso volumes of the California Dante (now available from Bantam); The Odyssey of Homer (now available from Bantam); The Metamorphoses of Ovid, a finalist for the Pulitzer Prize in poetry; Ovid in Sicily; Selected Poems of Giuseppe Ungaretti; Selected Writings of Salvatore Quasimodo; and David Maria Turoldo. Mandelbaum is co-editor with Robert Richardson Jr. of Three Centuries of American Poetry (Bantam Books) and, with Yehuda Amichai, of the eight volumes of the JPS Jewish Poetry Series. After receiving his Ph.D. from Columbia, he was in the Society of Fellows at Harvard. While chairman of the Ph.D. program in English at the Graduate Center of CUNY, he was a visiting professor at Washington University in St. Louis, and at the universities of Houston, Denver, Colorado, and Purdue. His honorary degrees are from Notre Dame University, Purdue University, the University of Assino, and the University of Torino. He received the Gold Medal of Honor from the city of Florence in 2000, celebrating the 735th anniversary of Dante's birth, the only translator to be so honored; and in 2003 he received the President of Italy's award for translation. He is now Professor of the History of Literary Criticism at the University of Turin and the W.R. Kenan Professor of Humanities at Wake Forest University.
Allen Mendelbaum's five verse volumes are: Chelmaxions; The Savantasse of Montparnasse; Journeyman; Leaves of Absence; and A Lied of Letterpress. His volumes of verse translation include The Aeneid of Virgil, a University of California Press volume (now available from Bantam) for which he won a National Book Award; the Inferno, Purgatorio, and Paradiso volumes of the California Dante (now available from Bantam); The Odyssey of Homer (now available from Bantam); The Metamorphoses of Ovid, a finalist for the Pulitzer Prize in poetry; Ovid in Sicily; Selected Poems of Giuseppe Ungaretti; Selected Writings of Salvatore Quasimodo; and David Maria Turoldo. Mandelbaum is co-editor with Robert Richardson Jr. of Three Centuries of American Poetry (Bantam Books) and, with Yehuda Amichai, of the eight volumes of the JPS Jewish Poetry Series. After receiving his Ph.D. from Columbia, he was in the Society of Fellows at Harvard. While chairman of the Ph.D. program in English at the Graduate Center of CUNY, he was a visiting professor at Washington University in St. Louis, and at the universities of Houston, Denver, Colorado, and Purdue. His honorary degrees are from Notre Dame University, Purdue University, the University of Assino, and the University of Torino. He received the Gold Medal of Honor from the city of Florence in 2000, celebrating the 735th anniversary of Dante's birth, the only translator to be so honored; and in 2003 he received the President of Italy's award for translation. He is now Professor of the History of Literary Criticism at the University of Turin and the W.R. Kenan Professor of Humanities at Wake Forest University.
Extras
CANTO I
Nel mezzo del cammin di nostra vita
mi ritrovai per una selva oscura,
che la diritta via era smarrita.
Ahi quanto a dir qual era e cosa dura4
esta selva selvaggia e aspra e forte
che nel pensier rinova la paura!
Tant' e amara che poco e piu morte;7
ma per trattar del ben ch'i' vi trovai,
diro 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 pie d'un colle giunto,13
la dove terminava quella valle
che m'avea di paura il cor compunto,
guardai in alto e vidi le sue spalle16
vestite gia 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,
cosi l'animo mio, ch'ancor fuggiva,25
si volse a retro a rimirar lo passo
che non lascio gia mai persona viva.
Poi ch'ei posato un poco il corpo lasso,28
ripresi via per la piaggia diserta,
si che 'l pie fermo sempre era 'l piu basso.
The voyager-narrator astray by night in a dark forest. Morning and the sunlit hill. Three beasts that impede his ascent. The encounter with Virgil, who offers his guidance and an alternative path through two of the three realms the voyager must visit.
When I had journeyed half of our life's way,
I found myself within a shadowed forest,
for I had lost the path that does not stray.
Ah, it is hard to speak of what it was,4
that savage forest, dense and difficult,
which even in recall renews my fear:
so bitter--death is hardly more severe!7
But to retell the good discovered there,
I'll also tell the other things I saw.
I cannot clearly say how I had entered10
the wood; I was so full of sleep just at
the point where I abandoned the true path.
But when I'd reached the bottom of a hill--13
it rose along the boundary of the valley
that had harassed my heart with so much fear--
I looked on high and saw its shoulders clothed16
already by the rays of that same planet
which serves to lead men straight along all roads.
At this my fear was somewhat quieted;19
for through the night of sorrow I had spent,
the lake within my heart felt terror present.
And just as he who, with exhausted breath,22
having escaped from sea to shore, turns back
to watch the dangerous waters he has quit,
so did my spirit, still a fugitive,25
turn back to look intently at the pass
that never has let any man survive.
I let my tired body rest awhile.28
Moving again, I tried the lonely slope--
my firm foot always was the one below.
Ed ecco, quasi al cominciar de l'erta,31
una lonza leggiera 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 piu volte volto.
Temp' era dal principio del mattino,37
e 'l sol montava 'n su con quelle stelle
ch'eran con lui quando l'amor divino
mosse di prima quelle cose belle;40
si 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 si 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,
si che parea che l'aere ne tremesse.
Ed una lupa, che di tutte brame49
sembiava carca ne la sua magrezza,
e molte genti fe gia 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 e 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 la dove 'l sol tace.
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 gia fui,67
e li parenti miei furon lombardi,
mantoani per patria ambedui.
And almost where the hillside starts to rise--31
look there!--a leopard, very quick and lithe,
a leopard covered with a spotted hide.
He did not disappear from sight, but stayed;34
indeed, he so impeded my ascent
that I had often to turn back again.
The time was the beginning of the morning;37
the sun was rising now in fellowship
with the same stars that had escorted it
when Divine Love first moved those things of beauty;40
so that the hour and the gentle season
gave me good cause for hopefulness on seeing
that beast before me with his speckled skin;43
but hope was hardly able to prevent
the fear I felt when I beheld a lion.
His head held high and ravenous with hunger--46
even the air around him seemed to shudder--
this lion seemed to make his way against me.
And then a she-wolf showed herself; she seemed49
to carry every craving in her leanness;
she had already brought despair to many.
The very sight of her so weighted me52
with fearfulness that I abandoned hope
of ever climbing up that mountain slope.
Even as he who glories while he gains55
will, when the time has come to tally loss,
lament with every thought and turn despondent,
so was I when I faced that restless beast,58
which, even as she stalked me, step by step
had thrust me back to where the sun is speechless.
While I retreated down to lower ground,61
before my eyes there suddenly appeared
one who seemed faint because of the long silence.
When I saw him in that vast wilderness,64
"Have pity on me," were the words I cried,
"whatever you may be--a shade, a man."
He answered me: "Not man; I once was man.67
Both of my parents came from Lombardy,
and both claimed Mantua as native city.
Nacqui sub Iulio, ancor che fosse tardi,70
e vissi a Roma sotto 'l buono Augusto
nel tempo de li dei falsi e bugiardi.
Poeta fui, e cantai di quel giusto73
figliuol d'Anchise che venne di Troia,
poi che 'l superbo Ilion fu combusto.
Ma tu perche ritorni a tanta noia?76
perche non sali il dilettoso monte
ch'e principio e cagion di tutta gioia?"
"Or se' tu quel Virgilio e quella fonte79
che spandi di parlar si 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 viaggio,"91
rispuose, poi che lagrimar mi vide,
"se vuo' campar d'esto loco selvaggio;
che questa bestia, per la qual tu gride,94
non lascia altrui passar per la sua via,
ma tanto lo 'mpedisce che l'uccide;
e ha natura si malvagia e ria,97
che mai non empie la bramosa voglia,
e dopo 'l pasto ha piu fame che pria.
Molti son li animali a cui s'ammoglia,100
e piu saranno ancora, infin che 'l veltro
verra, che la fara morir con doglia.
Questi non cibera terra ne peltro,103
ma sapienza, amore e virtute,
e sua nazion sara tra feltro e feltro.
Di quella umile Italia fia salute106
per cui mori la vergine Cammilla,
Eurialo e Turno e Niso di ferute.
And I was born, though late, sub Julio,70
and lived in Rome under the good Augustus--
the season of the false and lying gods.
I was a poet, and I sang the righteous73
son of Anchises who had come from Troy
when flames destroyed the pride of Ilium.
But why do you return to wretchedness?76
Why not climb up the mountain of delight,
the origin and cause of every joy?"
"And are you then that Virgil, you the fountain79
that freely pours so rich a stream of speech?"
I answered him with shame upon my brow.
"O light and honor of all other poets,82
may my long study and the intense love
that made me search your volume serve me now.
You are my master and my author, you--85
the only one from whom my writing drew
the noble style for which I have been honored.
You see the beast that made me turn aside;88
help me, o famous sage, to stand against her,
for she has made my blood and pulses shudder."
"It is another path that you must take,"91
he answered when he saw my tearfulness,
"if you would leave this savage wilderness;
the beast that is the cause of your outcry94
allows no man to pass along her track,
but blocks him even to the point of death;
her nature is so squalid, so malicious97
that she can never sate her greedy will;
when she has fed, she's hungrier than ever.
She mates with many living souls and shall100
yet mate with many more, until the Greyhound
arrives, inflicting painful death on her.
That Hound will never feed on land or pewter,103
but find his fare in wisdom, love, and virtue;
his place of birth shall be between two felts.
He will restore low-lying Italy106
for which the maid Camilla died of wounds,
and Nisus, Turnus, and Euryalus.
Questi la caccera per ogne villa,109
fin che l'avra rimessa ne lo 'nferno,
la onde 'nvidia prima dipartilla.
Ond' io per lo tuo me' penso e discerno112
che tu mi segui, e io saro tua guida,
e trarrotti di qui per loco etterno,
ove udirai le disperate strida,115
vedrai li antichi spiriti dolenti,
ch'a la seconda morte ciascun grida;
e vederai color che son contenti118
nel foco, perche speran di venire
quando che sia a le beate genti.
A le quai poi se tu vorrai salire,121
anima fia a cio piu di me degna:
con lei ti lascero nel mio partire;
che quello imperador che la su regna,124
perch' i' fu' ribellante a la sua legge,
non vuol che 'n sua citta per me si vegna.
In tutte parti impera e quivi regge;127
quivi e la sua citta e l'alto seggio:
oh felice colui cu' ivi elegge!"
E io a lui: "Poeta, io ti richeggio130
per quello Dio che tu non conoscesti,
a cio ch'io fugga questo male e peggio,
che tu mi meni la dov' or dicesti,133
si ch'io veggia la porta di san Pietro
e color cui tu fai cotanto mesti."
Allor si mosse, e io li tenni dietro.136
And he will hunt that beast through every city109
until he thrusts her back again to Hell,
from which she was first sent above by envy.
Therefore, I think and judge it best for you112
to follow me, and I shall guide you, taking
you from this place through an eternal place,
where you shall hear the howls of desperation115
and see the ancient spirits in their pain,
as each of them laments his second death;
and you shall see those souls who are content118
within the fire, for they hope to reach--
whenever that may be--the blessed people.
If you would then ascend as high as these,121
a soul more worthy than I am will guide you;
I'll leave you in her care when I depart,
because that Emperor who reigns above,124
since I have been rebellious to His law,
will not allow me entry to His city.
He governs everywhere, but rules from there;127
there is His city, His high capital:
o happy those He chooses to be there!"
And I replied: "O poet--by that God130
whom you had never come to know--I beg you,
that I may flee this evil and worse evils,
to lead me to the place of which you spoke,133
that I may see the gateway of Saint Peter
and those whom you describe as sorrowful."
Then he set out, and I moved on behind him.136
CANTO II
Lo giorno se n'andava, e l'aere bruno
toglieva li animai che sono in terra
da le fatiche loro; e io sol uno
m'apparecchiava a sostener la guerra4
si del cammino e si de la pietate,
che ritrarra la mente che non erra.
O Muse, o alto ingegno, or m'aiutate;7
o mente che scrivesti cio ch'io vidi,
qui si parra la tua nobilitate.
Io cominciai: "Poeta che mi guidi,10
guarda la mia virtu s'ell' e possente,
prima ch'a l'alto passo tu mi fidi.
Tu dici che di Silvio il parente,13
corruttibile ancora, ad immortale
secolo ando, e fu sensibilmente.
Pero, se l'avversario d'ogne male16
cortese i fu, pensando l'alto effetto
ch'uscir dovea di lui, e 'l chi e 'l quale,
non pare indegno ad omo d'intelletto;19
ch'e' fu de l'alma Roma e di suo impero
ne l'empireo ciel per padre eletto:
la quale e 'l quale, a voler dir lo vero,22
fu stabilita per lo loco santo
u' siede il successor del maggior Piero.
Per quest' andata onde li dai tu vanto,25
intese cose che furon cagione
di sua vittoria e del papale ammanto.
Andovvi poi lo Vas d'elezione,28
per recarne conforto a quella fede
ch'e principio a la via di salvazione.
The following evening, Invocation to the Muses. The narrator's questioning of his worthiness to visit the deathless world. Virgil's comforting explanation that he has been sent to help Dante by three Ladies of Heaven. The voyager heartened. Their setting out.
The day was now departing; the dark air
released the living beings of the earth
from work and weariness; and I myself
alone prepared to undergo the battle4
both of the journeying and of the pity,
which memory, mistaking not, shall show.
O Muses, o high genius, help me now;7
o memory that set down what I saw,
here shall your excellence reveal itself!
I started: "Poet, you who are my guide,10
see if the force in me is strong enough
before you let me face that rugged pass.
You say that he who fathered Sylvius,13
while he was still corruptible, had journeyed
into the deathless world with his live body.
For, if the Enemy of every evil16
was courteous to him, considering
all he would cause and who and what he was,
that does not seem incomprehensible,19
since in the empyrean heaven he was chosen
to father honored Rome and her empire;
and if the truth be told, Rome and her realm22
were destined to become the sacred place,
Nel mezzo del cammin di nostra vita
mi ritrovai per una selva oscura,
che la diritta via era smarrita.
Ahi quanto a dir qual era e cosa dura4
esta selva selvaggia e aspra e forte
che nel pensier rinova la paura!
Tant' e amara che poco e piu morte;7
ma per trattar del ben ch'i' vi trovai,
diro 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 pie d'un colle giunto,13
la dove terminava quella valle
che m'avea di paura il cor compunto,
guardai in alto e vidi le sue spalle16
vestite gia 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,
cosi l'animo mio, ch'ancor fuggiva,25
si volse a retro a rimirar lo passo
che non lascio gia mai persona viva.
Poi ch'ei posato un poco il corpo lasso,28
ripresi via per la piaggia diserta,
si che 'l pie fermo sempre era 'l piu basso.
The voyager-narrator astray by night in a dark forest. Morning and the sunlit hill. Three beasts that impede his ascent. The encounter with Virgil, who offers his guidance and an alternative path through two of the three realms the voyager must visit.
When I had journeyed half of our life's way,
I found myself within a shadowed forest,
for I had lost the path that does not stray.
Ah, it is hard to speak of what it was,4
that savage forest, dense and difficult,
which even in recall renews my fear:
so bitter--death is hardly more severe!7
But to retell the good discovered there,
I'll also tell the other things I saw.
I cannot clearly say how I had entered10
the wood; I was so full of sleep just at
the point where I abandoned the true path.
But when I'd reached the bottom of a hill--13
it rose along the boundary of the valley
that had harassed my heart with so much fear--
I looked on high and saw its shoulders clothed16
already by the rays of that same planet
which serves to lead men straight along all roads.
At this my fear was somewhat quieted;19
for through the night of sorrow I had spent,
the lake within my heart felt terror present.
And just as he who, with exhausted breath,22
having escaped from sea to shore, turns back
to watch the dangerous waters he has quit,
so did my spirit, still a fugitive,25
turn back to look intently at the pass
that never has let any man survive.
I let my tired body rest awhile.28
Moving again, I tried the lonely slope--
my firm foot always was the one below.
Ed ecco, quasi al cominciar de l'erta,31
una lonza leggiera 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 piu volte volto.
Temp' era dal principio del mattino,37
e 'l sol montava 'n su con quelle stelle
ch'eran con lui quando l'amor divino
mosse di prima quelle cose belle;40
si 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 si 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,
si che parea che l'aere ne tremesse.
Ed una lupa, che di tutte brame49
sembiava carca ne la sua magrezza,
e molte genti fe gia 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 e 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 la dove 'l sol tace.
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 gia fui,67
e li parenti miei furon lombardi,
mantoani per patria ambedui.
And almost where the hillside starts to rise--31
look there!--a leopard, very quick and lithe,
a leopard covered with a spotted hide.
He did not disappear from sight, but stayed;34
indeed, he so impeded my ascent
that I had often to turn back again.
The time was the beginning of the morning;37
the sun was rising now in fellowship
with the same stars that had escorted it
when Divine Love first moved those things of beauty;40
so that the hour and the gentle season
gave me good cause for hopefulness on seeing
that beast before me with his speckled skin;43
but hope was hardly able to prevent
the fear I felt when I beheld a lion.
His head held high and ravenous with hunger--46
even the air around him seemed to shudder--
this lion seemed to make his way against me.
And then a she-wolf showed herself; she seemed49
to carry every craving in her leanness;
she had already brought despair to many.
The very sight of her so weighted me52
with fearfulness that I abandoned hope
of ever climbing up that mountain slope.
Even as he who glories while he gains55
will, when the time has come to tally loss,
lament with every thought and turn despondent,
so was I when I faced that restless beast,58
which, even as she stalked me, step by step
had thrust me back to where the sun is speechless.
While I retreated down to lower ground,61
before my eyes there suddenly appeared
one who seemed faint because of the long silence.
When I saw him in that vast wilderness,64
"Have pity on me," were the words I cried,
"whatever you may be--a shade, a man."
He answered me: "Not man; I once was man.67
Both of my parents came from Lombardy,
and both claimed Mantua as native city.
Nacqui sub Iulio, ancor che fosse tardi,70
e vissi a Roma sotto 'l buono Augusto
nel tempo de li dei falsi e bugiardi.
Poeta fui, e cantai di quel giusto73
figliuol d'Anchise che venne di Troia,
poi che 'l superbo Ilion fu combusto.
Ma tu perche ritorni a tanta noia?76
perche non sali il dilettoso monte
ch'e principio e cagion di tutta gioia?"
"Or se' tu quel Virgilio e quella fonte79
che spandi di parlar si 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 viaggio,"91
rispuose, poi che lagrimar mi vide,
"se vuo' campar d'esto loco selvaggio;
che questa bestia, per la qual tu gride,94
non lascia altrui passar per la sua via,
ma tanto lo 'mpedisce che l'uccide;
e ha natura si malvagia e ria,97
che mai non empie la bramosa voglia,
e dopo 'l pasto ha piu fame che pria.
Molti son li animali a cui s'ammoglia,100
e piu saranno ancora, infin che 'l veltro
verra, che la fara morir con doglia.
Questi non cibera terra ne peltro,103
ma sapienza, amore e virtute,
e sua nazion sara tra feltro e feltro.
Di quella umile Italia fia salute106
per cui mori la vergine Cammilla,
Eurialo e Turno e Niso di ferute.
And I was born, though late, sub Julio,70
and lived in Rome under the good Augustus--
the season of the false and lying gods.
I was a poet, and I sang the righteous73
son of Anchises who had come from Troy
when flames destroyed the pride of Ilium.
But why do you return to wretchedness?76
Why not climb up the mountain of delight,
the origin and cause of every joy?"
"And are you then that Virgil, you the fountain79
that freely pours so rich a stream of speech?"
I answered him with shame upon my brow.
"O light and honor of all other poets,82
may my long study and the intense love
that made me search your volume serve me now.
You are my master and my author, you--85
the only one from whom my writing drew
the noble style for which I have been honored.
You see the beast that made me turn aside;88
help me, o famous sage, to stand against her,
for she has made my blood and pulses shudder."
"It is another path that you must take,"91
he answered when he saw my tearfulness,
"if you would leave this savage wilderness;
the beast that is the cause of your outcry94
allows no man to pass along her track,
but blocks him even to the point of death;
her nature is so squalid, so malicious97
that she can never sate her greedy will;
when she has fed, she's hungrier than ever.
She mates with many living souls and shall100
yet mate with many more, until the Greyhound
arrives, inflicting painful death on her.
That Hound will never feed on land or pewter,103
but find his fare in wisdom, love, and virtue;
his place of birth shall be between two felts.
He will restore low-lying Italy106
for which the maid Camilla died of wounds,
and Nisus, Turnus, and Euryalus.
Questi la caccera per ogne villa,109
fin che l'avra rimessa ne lo 'nferno,
la onde 'nvidia prima dipartilla.
Ond' io per lo tuo me' penso e discerno112
che tu mi segui, e io saro tua guida,
e trarrotti di qui per loco etterno,
ove udirai le disperate strida,115
vedrai li antichi spiriti dolenti,
ch'a la seconda morte ciascun grida;
e vederai color che son contenti118
nel foco, perche speran di venire
quando che sia a le beate genti.
A le quai poi se tu vorrai salire,121
anima fia a cio piu di me degna:
con lei ti lascero nel mio partire;
che quello imperador che la su regna,124
perch' i' fu' ribellante a la sua legge,
non vuol che 'n sua citta per me si vegna.
In tutte parti impera e quivi regge;127
quivi e la sua citta e l'alto seggio:
oh felice colui cu' ivi elegge!"
E io a lui: "Poeta, io ti richeggio130
per quello Dio che tu non conoscesti,
a cio ch'io fugga questo male e peggio,
che tu mi meni la dov' or dicesti,133
si ch'io veggia la porta di san Pietro
e color cui tu fai cotanto mesti."
Allor si mosse, e io li tenni dietro.136
And he will hunt that beast through every city109
until he thrusts her back again to Hell,
from which she was first sent above by envy.
Therefore, I think and judge it best for you112
to follow me, and I shall guide you, taking
you from this place through an eternal place,
where you shall hear the howls of desperation115
and see the ancient spirits in their pain,
as each of them laments his second death;
and you shall see those souls who are content118
within the fire, for they hope to reach--
whenever that may be--the blessed people.
If you would then ascend as high as these,121
a soul more worthy than I am will guide you;
I'll leave you in her care when I depart,
because that Emperor who reigns above,124
since I have been rebellious to His law,
will not allow me entry to His city.
He governs everywhere, but rules from there;127
there is His city, His high capital:
o happy those He chooses to be there!"
And I replied: "O poet--by that God130
whom you had never come to know--I beg you,
that I may flee this evil and worse evils,
to lead me to the place of which you spoke,133
that I may see the gateway of Saint Peter
and those whom you describe as sorrowful."
Then he set out, and I moved on behind him.136
CANTO II
Lo giorno se n'andava, e l'aere bruno
toglieva li animai che sono in terra
da le fatiche loro; e io sol uno
m'apparecchiava a sostener la guerra4
si del cammino e si de la pietate,
che ritrarra la mente che non erra.
O Muse, o alto ingegno, or m'aiutate;7
o mente che scrivesti cio ch'io vidi,
qui si parra la tua nobilitate.
Io cominciai: "Poeta che mi guidi,10
guarda la mia virtu s'ell' e possente,
prima ch'a l'alto passo tu mi fidi.
Tu dici che di Silvio il parente,13
corruttibile ancora, ad immortale
secolo ando, e fu sensibilmente.
Pero, se l'avversario d'ogne male16
cortese i fu, pensando l'alto effetto
ch'uscir dovea di lui, e 'l chi e 'l quale,
non pare indegno ad omo d'intelletto;19
ch'e' fu de l'alma Roma e di suo impero
ne l'empireo ciel per padre eletto:
la quale e 'l quale, a voler dir lo vero,22
fu stabilita per lo loco santo
u' siede il successor del maggior Piero.
Per quest' andata onde li dai tu vanto,25
intese cose che furon cagione
di sua vittoria e del papale ammanto.
Andovvi poi lo Vas d'elezione,28
per recarne conforto a quella fede
ch'e principio a la via di salvazione.
The following evening, Invocation to the Muses. The narrator's questioning of his worthiness to visit the deathless world. Virgil's comforting explanation that he has been sent to help Dante by three Ladies of Heaven. The voyager heartened. Their setting out.
The day was now departing; the dark air
released the living beings of the earth
from work and weariness; and I myself
alone prepared to undergo the battle4
both of the journeying and of the pity,
which memory, mistaking not, shall show.
O Muses, o high genius, help me now;7
o memory that set down what I saw,
here shall your excellence reveal itself!
I started: "Poet, you who are my guide,10
see if the force in me is strong enough
before you let me face that rugged pass.
You say that he who fathered Sylvius,13
while he was still corruptible, had journeyed
into the deathless world with his live body.
For, if the Enemy of every evil16
was courteous to him, considering
all he would cause and who and what he was,
that does not seem incomprehensible,19
since in the empyrean heaven he was chosen
to father honored Rome and her empire;
and if the truth be told, Rome and her realm22
were destined to become the sacred place,
Recenzii
An attractive new alternative as both a translation and a pedagogical tool. The volume includes an excellent introduction by Dante scholar Steven Botterill (Univ. of California, Berkeley), clear and informative notes by lifelong Dantist Anthony Oldcorn, a concise bibliographical note that indicates some important sources on Dante in print and online, and a diagram of Hell; Index of the Damned lists characters who appear in the canticle. The translator's preface explains Lombardo's choices as he faced the always-challenging task of rendering Dante's poetry into English. Among the most interesting choices are the occasional use of rhyme--especially in key passages and at the end of each canto, where interlocking rhymes that mimic Dante's terza rima are consistently employed--and an emphasis on creating a version that works well as an oral presentation, following the long tradition of private, public, and theatrical readings of the poem. The volume includes the original Italian text, thus facilitating classroom references and comparisons. --Rebecca West (Department of Romance Languages and Literatures, University of Chicago) in Choice
I deeply admired Lombardo's translations of Iliad and Odyssey , as did my students--they were universally complimentary, loving the way the poetry flowed, and many of them learned the habit of reading the text aloud, much to the astonishment of their classmates from other sections of the courses. But their encounter with his Inferno was of a different order, as was mine. Lombardo's Inferno is so knowledgeable of the translation tradition (which it uses to marvelous effect), so poetically well-crafted, so compelling to read, so well-documented without overwhelming the reader, that I simply did not want to put it down. My students had much the same reaction. Although in the first session they were responsible for only the first third of the book, I quickly noticed that most of them had already read it through. They found it compelling to read and were captivated by a journey to which many of them had the week before said they did not look forward. --Ted Humphrey, Barrett Professor in the Barrett Honors College, Arizona State University
"This newest verse translation offered by Stanley Lombardo artfully carries into English the radical vernacularity, both linguistic and cultural, of Dante's Inferno. Readers and teachers who want a text that will resonate with contemporary and colloquial American English would do well to choose this translation. Lombardo's translation revels in the street music of Dante's vernacular poetry and occasional vulgar style in the Inferno. At times the interaction between Dante's stock devils, the Malebranche, sounds like the dialogue in a Scorsese film. Lombardo performs other poetic feats so that Dante's poetry might stand out in English with the same vitality with which Dante infused his vernacular poem. Lombardo finishes every canto with a brief interlocked rhymed passage to give the reader a taste of Dante's terza rima. He also shifts into rhyme for Dante's diatribes. As Lombardo aptly points out in his preface, style and meaning must cohere if the art of the poet is to resurface in a translation, and the forcefulness of his translation allows Dante's harsh poetry to carry through. The volume contains various helpful tools for the reader to understand the Inferno, both as an expression of the medieval intellect and as a cornerstone of the European literary tradition, and provides ample headnotes, prepared by veteran Dante scholar Anthony Oldcorn, to each canto. Neither a simple summary nor a detailed gloss, the notes do provide narrative signposts while giving a feel for the myriad ethical, philosophical, and poetical themes that Dante confronts. The eminent Dante scholar Steven Botterill provides a masterly introduction to the Inferno that grounds the poem in Dante's Italy while refraining from dwelling on unnecessary detail. Botterill organizes the introduction into themes rather than offering a vita auctoris. The novice reader of Dante will learn the important facts of Dante's life without having ever read the word Guelph or Ghibelline. Instead, Botterill emphasizes Dante as a vernacular poet and the radical invention of his poem. Similarly, the endnotes, by Oldcorn, opt for brevity and elegance over the exhaustive apparatus that accompanies many editions of the Commedia Oldcorn covers Dante's fundamental literary genealogies while paying attention to his place in the Western tradition. This translation aims to bring Dante to a new audience of readers who are unfamiliar with Dante and the Italian tradition in general." --Jason M. Houston, Speculum
I deeply admired Lombardo's translations of Iliad and Odyssey , as did my students--they were universally complimentary, loving the way the poetry flowed, and many of them learned the habit of reading the text aloud, much to the astonishment of their classmates from other sections of the courses. But their encounter with his Inferno was of a different order, as was mine. Lombardo's Inferno is so knowledgeable of the translation tradition (which it uses to marvelous effect), so poetically well-crafted, so compelling to read, so well-documented without overwhelming the reader, that I simply did not want to put it down. My students had much the same reaction. Although in the first session they were responsible for only the first third of the book, I quickly noticed that most of them had already read it through. They found it compelling to read and were captivated by a journey to which many of them had the week before said they did not look forward. --Ted Humphrey, Barrett Professor in the Barrett Honors College, Arizona State University
"This newest verse translation offered by Stanley Lombardo artfully carries into English the radical vernacularity, both linguistic and cultural, of Dante's Inferno. Readers and teachers who want a text that will resonate with contemporary and colloquial American English would do well to choose this translation. Lombardo's translation revels in the street music of Dante's vernacular poetry and occasional vulgar style in the Inferno. At times the interaction between Dante's stock devils, the Malebranche, sounds like the dialogue in a Scorsese film. Lombardo performs other poetic feats so that Dante's poetry might stand out in English with the same vitality with which Dante infused his vernacular poem. Lombardo finishes every canto with a brief interlocked rhymed passage to give the reader a taste of Dante's terza rima. He also shifts into rhyme for Dante's diatribes. As Lombardo aptly points out in his preface, style and meaning must cohere if the art of the poet is to resurface in a translation, and the forcefulness of his translation allows Dante's harsh poetry to carry through. The volume contains various helpful tools for the reader to understand the Inferno, both as an expression of the medieval intellect and as a cornerstone of the European literary tradition, and provides ample headnotes, prepared by veteran Dante scholar Anthony Oldcorn, to each canto. Neither a simple summary nor a detailed gloss, the notes do provide narrative signposts while giving a feel for the myriad ethical, philosophical, and poetical themes that Dante confronts. The eminent Dante scholar Steven Botterill provides a masterly introduction to the Inferno that grounds the poem in Dante's Italy while refraining from dwelling on unnecessary detail. Botterill organizes the introduction into themes rather than offering a vita auctoris. The novice reader of Dante will learn the important facts of Dante's life without having ever read the word Guelph or Ghibelline. Instead, Botterill emphasizes Dante as a vernacular poet and the radical invention of his poem. Similarly, the endnotes, by Oldcorn, opt for brevity and elegance over the exhaustive apparatus that accompanies many editions of the Commedia Oldcorn covers Dante's fundamental literary genealogies while paying attention to his place in the Western tradition. This translation aims to bring Dante to a new audience of readers who are unfamiliar with Dante and the Italian tradition in general." --Jason M. Houston, Speculum
Textul de pe ultima copertă
This timeless Christian allegory has become the key with which Western civilization has sought to unlock the mystery fo its own identity. In the Inferno, the first of the Comedy's three parts, Dante is conducted by the spirit of the classical poet Virgil through the nine circles of Hell on the initial stage of his arduous journey toward God.
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"Abandon all hope, ye who enter here"readthe now-famous words above the gate through which Dante, the protagonist of Inferno, crosses the threshold. But that forbidding inscription applies only to those without faith; and though Dante's journey through the nine circles of Hellbegins withterror and confusion.
"Abandon all hope, ye who enter here"readthe now-famous words above the gate through which Dante, the protagonist of Inferno, crosses the threshold. But that forbidding inscription applies only to those without faith; and though Dante's journey through the nine circles of Hellbegins withterror and confusion.