Throughout the past two hundred years, many linguists have attempted to translate Dante Alighieri's Divine Comedy into English. While all have been successful in conveying the general meaning of various passages, diction and wordiness have varied wildly; no two translations are identical. This can be attributed to two factors: normal translational variation and the intent of the linguist. Taking both of these into account, John Ciardi's 1954 translation is far superior to the others.
Unlike previous literary works, The Comedy (divine was added to the title some two hundred years after Dante), written between 1307 and 1320, was originally published in vernacular Italian. This threatened Dante's legitimacy: all other `great' works of the Middle Ages, Renaissance, and New Science were written in Latin. Even Isaac Newton published his scientific works in Latin: it was the international language of scholars and philosophers. Another linguistic aspect of Dante's epic was its peculiar rhyme scheme. Dante wrote it his own terza rima (ABABCBCDC, etc.), a pattern based, like so many other facets of The Comedy, on the number three. Relatively easy to accomplish in Italian--most words rhyme with each other, ending in vowels--terza rima is difficult to achieve in English while preserving the meaning of a passage. Ciardi's translation manages to do this, all the while using modern language and clear pronouns and verbs. The other translator to attempt this, Dorothy L. Sayers, writing in 1949, preserves terza rima but sinks into excessive cliché use and dated expressions. She also appears to have put little thought into the contextual meaning of words. For example, the Italian noun dottore can mean doctor or professor; Sayers is the onl...
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...tempting to preserve Dante's difficult rhyme scheme.
To conclude, Ciardi's translation of Dante's Divine Comedy is superior the other English attempts. He uses modern, easy-to-understand diction while preserving both the original Italian word choice and the terza rima rhyme scheme. Unlike Sayers, his translation is not `ruled' by the difficult pattern. In the last stanza, following terza rima in English would have been very difficult. Instead of `forcing' his translation to be totally conformant, he instead opts to preserve readability by eliminating the need to rhyme `trembling' (tremante) and `more (further)' (avante). His result was a beautiful passage: "the tremor of his kiss/...we read no further." Ciardi's mix of the original rhyme scheme, modern language, and sonorous, passionate diction makes his translation of The Divine Comedy superior to all others.
Dante Alighieri created The Divine Comedy around the time he was exiled from Florence Italy. The Divine Comedy is made up to three books that’s called inferno, purgatory and paradise. The inferno tells the story about him entering the nine circles with a fellow poet Vigil. During the journey are many Historical, Social and Cultural Context.
The characters of Lewis, Ed, and the hillbilly rapists can be examined in terms of the circles of Hell found in Robert Pinsky's translation of "The Inferno of Dante." Each circle of Hell is reserved for a particular type of sinner with very specific punishments. When the characters from James Dickey's "Deliverance" are viewed from the perspective of Dante's nine circles of Hell, their actions seem to be much more sinister then when they are taken in the context of Dickey's novel alone. What could be viewed as justifiable homicide in Dickey's world suddenly places Lewis and Ed in the pits of Hell, right alongside the rapist, murdering hillbillies.
Out of ever perplexity Dante faces throughout his journeys in Inferno, Purgatorio, and Paradiso, this one of merit and grace is the most significant one. This thought entails what the whole Comedia is about by essentially determining the principal matter of his revolutionary work – each one’s merit produced by God’s grace. His use of “merit” and “grace” brings the reader’s attention to focus on how this determines the measurement of understanding. The tension between merit and grace plays one of the most important roles in the Divine Comedy because it is seen everywhere especially when Dante finally learns to understand each step of his journey. Dante is enlightened on the judgment of souls and he devotes himself to reach grace and, ultimately, sanctity.
Movement is a crucial theme of the Divine Comedy. From the outset, we are confronted with the physicality of the lost Dante, wandering in the perilous dark wood. His movement within the strange place is confused and faltering; `Io non so ben ridir com'io v'entrai'. Moreover, it is clear that the physical distress he is experiencing is the visible manifestation of the mental anguish the poet is suffering. The allegory of the image is one of mid-life crisis, but it is physically represented by the man losing his way in a dark wood. Such an observation may seem far too simple and obvious to be worthy of comment. However, I would argue that it is from this primary example of the deep connection between the physical and the mental, that one can begin to categorise and explain the varying types of movement in the work. The first section of this essay will be a close analysis of several important moments of physical activity or the absence of such. The final section will be an overview of the whole and a discussion of the general structure of the Comedy, how movement is governed and the implications of this.
Poetry played a vital role in the dissemination of information during the Crusade period. It provided a compact, easily memorized way of spreading news in a time bereft of the benefit of mass printing. According to Michael Routledge, who penned a chapter on Crusade songs and poetry in The Oxford Illustrated History of the Crusades, poetry was not only a way of recording and spreading news of current events, but also served to record and extoll the virtues and values of the ruling Medieval aristocracy. These values included commitment to one's lord, and an acceptance of the feudal duties of auxilium (armed help in time of attack by enemies) and consilium (counsel and rendering of justice) (Routledge 97). A fine example of poetry's use in the above context can be found in Paul Blackburn's translation of the medieval Spanish epic Poem of the Cid. The poem is a fictional account of the life of the eleventh-century adventurer and military commander Rodrigo Diaz de Vivar. The poem's title derives from Rodrigo Diaz de Vivar's Arabic title, Sayyidi (the Cid) or "My Lord". The poem's content describes a series of events transpiring after the main character, the Cid, is exiled from his homeland. Within the body of the poem, situations extolling the medieval virtues of commitment to one's lord, auxilium, and consilium are revealed. The theme of commitment to one's lord is prevalent throughout the Poem of the Cid. Initially, the Cid is exiled because his enemies have turned his lord, King Alfonso, against him. Despite being banished from his home and family, the Cid uses every opportunity that comes his way to show his valor and loyalty to Alfonso. In reality, being exiled should have turned a man li...
Ruud, Jay. Critical Companion to Dante: a Literary Reference to His Life and Work. New York: Facts On
The Trinity in The Inferno Dante's Inferno, itself one piece of a literary trilogy, repeatedly deploys the leitmotif of the number three as a metaphor for ambiguity, compromise, and transition. A work in terza rima that details a descent through Nine Circles of Hell, The Inferno encompasses temporal, literary, and political bridges and chasms that link Dante's inspired Centaur work between the autobiographical and the fictive, the mundane and the divine and, from a contemporary viewpoint, the Medieval and the ModernDante's recognition of the Renaissance as our millennium's metamorphic period and of himself as its poetic forerunner (until deposition by Shakespeare). The Inferno is a work of transition between two points, as attested by the opening lines: "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" (I, 1-3). Echoes of these famous lines can be heard in Robert Frost's "The Road Less Traveled". While Frost's poem concerns itself with the duality and firmness of decision, Dante's tercet implies an interval of great indecision and limbo.
Rudd, Jay. Critical Companion to Dante: A Literary Reference to His Life and Work. New York. 2008. Print.
Dante Alighieri’s Divine Comedy is said to be the single greatest epic poem of all time. The opening story of the character of Dante the Pilgrim is told in the first of the three divisions: The Inferno. The Inferno is a description of Dante’s journey down through Hell and of the several degrees of suffering and many mythical creatures that he encounters on the way. Throughout his travel Dante displays many different feelings and actions but the emotion that summarizes the entire poem is fear. While some of his character traits change as his mind matures and acknowledges the justice being carried out, from the very beginning until the final Canto, his fear does not subside. This does well to reinforce the symbolism of Dante as Everyman and serves to direct the reader to the moral purpose of Divine Comedy, because of the humility and dependence upon God that fear produces. In the first Canto, which serves as an introduction to the entire comedy, Dante encounters the three beasts which impede his progress out of the dark woods. Coming upon the She-Wolf he writes: "This last beast brought my spirit down so low / with fear that seized me at the sight of her, / lost all hope of going up the hill" (I.52-54). Dante is so shaken by the appearances of the three beasts that he rushes headlong into the dark woods he has just come out of. This is only the first obstacle Dante encounters, but it proves an insurmountable one.
Dante’s work Inferno is a vivid walkthrough the depths of hell and invokes much imagery, contemplation and feeling. Dante’s work beautifully constructs a full sensory depiction of hell and the souls he encounters along the journey. In many instances within the work the reader arrives at a crossroads for interpretation and discussion. Canto XI offers one such crux in which Dante asks the question of why there is a separation between the upper levels of hell and the lower levels of hell. By discussing the text, examining its implications and interpretations, conclusions can be drawn about why there is delineation between the upper and lower levels and the rationale behind the separation.
Dante Alighieri presents a vivid and awakening view of the depths of Hell in the first book of his Divine Comedy, the Inferno. The reader is allowed to contemplate the state of his own soul as Dante "visits" and views the state of the souls of those eternally assigned to Hell's hallows. While any one of the cantos written in Inferno will offer an excellent description of the suffering and justice of hell, Canto V offers a poignant view of the assignment of punishment based on the committed sin. Through this close reading, we will examine three distinct areas of Dante's hell: the geography and punishment the sinner is restricted to, the character of the sinner, and the "fairness" or justice of the punishment in relation to the sin. Dante's Inferno is an ordered and descriptive journey that allows the reader the chance to see his own shortcomings in the sinners presented in the text.
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Dante’s Inferno, set up of hell is created by is created by Dante himself which allows him to designate where in hell each sinner falls into. With that power, Dante places all the inhabitants in regards to his judgement, as he acts as a proxy of god. The second circle of hell in the Inferno, is inhabited by the individuals which commit a sin of incontinence. Two individuals that we find in this circle are, Francesca and Paolo, lustful lovers that are given the opportunity to tell their story to Dante the pilgrim.
The Divine Comedy is a poetic Italian masterpiece by Dante Alighieri composed of three parts which he called respectively: The Inferno, The Purgatorio, and The Paradiso. As this edition’s translator, John Ciardi puts it, originally Dante simply entitled his works as The Comedy, however, in later years, it was renamed The Divine Comedy for the connections that the public saw it had with human behavior and morality (Ciardi, 2003). For the goals and purposes of this review, we will focus specifically on the portion of the book called The Inferno. At a time when religious and secular concerns were at their peak in fourteenth century Italy, a tone of conflict broke out between the church and the government. Beyond the commonalities of corruption