Tämä sivusto käyttää evästeitä palvelujen toimittamiseen, toiminnan parantamiseen, analytiikkaan ja (jos et ole kirjautunut sisään) mainostamiseen. Käyttämällä LibraryThingiä ilmaiset, että olet lukenut ja ymmärtänyt käyttöehdot ja yksityisyydensuojakäytännöt. Sivujen ja palveluiden käytön tulee olla näiden ehtojen ja käytäntöjen mukaista.
Inferno is the first part of Italian poet Dante Alighieri's epic poem Divine Comedy. The allegory describes Dante's journey through the depths of Hell. He is led by the Roman poet Virgil down into the nine circles of Hell, each of which holds and punishes progressively worse sinners. From the First Circle, where unbaptized souls live in peaceful limbo, down to the Ninth Circle, where Satan is trapped in ice, Dante sees firsthand the consequence of unrepentantly sinning against God. Dante published his narrative poem between 1308 and 1321. This version is taken from an 1892 English edition, featuring British author Rev. H. F. Cary's blank verse translation and woodcut illustrations by French artist Gustave Dor.
Can I pick out a favorite canto? How about canto 14, the division of the blasphemers in circle 7. Some surprises here even as the reader has been growing accustomed to Dante's blending of Classical culture and Christianity. Capaneus, one of the seven mythological heroes who attacked the city of Thebes in support of Polynices, son of Oedipus, as told by Aeschylus in [b:The Seven Against Thebes|752713|The Seven Against Thebes (Dover Thrift Editions)|Aeschylus|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1328866074l/752713._SY75_.jpg|2474147] and Statius in [b:The Thebaid: Seven Against Thebes|677893|The Thebaid Seven Against Thebes|Publius Papinius Statius|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1348522460l/677893._SY75_.jpg|663891], is here for his blasphemy against Jupiter/Zeus. Dante thus treats blasphemy against a pagan god in mythology as equal to blasphemy against his Christian God! One might think that theologically you can't end up in the Christian Hell for defying a pagan god, but here you can, as Dante incorporates the Classical period into his Christian universe that takes in all of human history.
The idea that Hell is really a hell of one's own making is presented here as well. Capaneus continues to lash out at Jupiter: "let him hurl his bolts at me, no joy of satisfaction would I give him!" He is still the same person, unchanged, as he was in life, which is a condition of the shades in Hell: they will not ever change, their pride will never allow them to repent. Virgil speaks back to him that "no torment other than your rage itself could punish your gnawing pride more perfectly." This psychologically astute envisioning of Hell is not one I was expecting to encounter; I had been underestimating Dante.
In the second half of the canto we get a fascinatingly allegorical and resonant description of the Man of Crete. This is a colossus representing humankind that lies underneath Mt. Ida and whose tears, representing humanity's tears, are the source of Hell's rivers. Dante takes the idea of such a figure from the Book of Daniel, Nebuchadnezzar's dream, and combines it with Ovid's description of the fall of man from the Golden Age down through silver and bronze and finally to the Iron Age that he presents in [b:Metamorphoses|1715|Metamorphoses|Ovid|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1622739150l/1715._SY75_.jpg|2870411]; the colossus is fashioned of gold at the head, silver at the chest, brass to his legs, and then iron - except for a right foot made of terra cotta that he places more weight on, which represents the modern Roman Church. Only the gold portion is unbroken, as the tears carve a fissure down the rest of him.
The idea of Hell's rivers being fed by human tears symbolically falling down a figure representing the fall and decay of man is a powerful poetic image. Also very interesting in that it shows how people in every age and every generation think that theirs is a uniquely bad time in history, going all the way back to Ovid! This is nothing new at all; likely in a thousand years people will think that their time is a uniquely bad time, as humanity continues on its way.
And then on a lighter note, we have the pilgrim, perhaps unconsciously, getting a little jab in at Virgil, who could not get them past the gates of the infernal city of Dis separating Upper from Lower Hell that was guarded by devils - Virgil can handle Classical monsters, but Christian devils are beyond his powers and they had to wait on an angel from Heaven to continue their journey. Here Dante most unnecessarily reminds Virgil of his past failure in introducing a question about their current position: "My master, you who overcome all opposition (except for those tough demons who came to meet us at the gate of Dis), who is that mighty one that seems unbothered...". Petty! -------
Finally found a translation, Mark Musa’s, that I really get on with. Also watched and read the lectures and notes from Columbia University’s course on the Commedia alongside reading each canto, which are available for free at digitaldante.columbia.edu, an amazing gift. I would have understood a mere fraction of the context, richness, and literary techniques of this work without those. ( )
I am prone to hesitation in reviewing a classic so low. I realize I am in the minority and I don't want to tick people off. I also freely admit my struggles with some of these classics is solely in my naivety and lack of deeper understanding.
That being said -- this was a chore to read. I had an audible version and a print version, neither read the same. It likely helped to "follow along" as I listened, deciphering the print from the audible. Yet still so tough.
I understand the deep religious tone in the book, I still find it uncomfortable. This idea of hell is disturbing and so ... mainstream religious. On the other hand, what an amazing and ornate and detailed description of Hell. Quite impressive.
I also wish I knew more about the many, many people mentioned in the poem. So many times I just skimmed over who they were and sometimes what they did to get to Hell. I wanted to get it.
If I understand the times and atmosphere of the life of Dante, this was a brave work. I admire that. I do not admire, however, where he put Muslims or Jews and those who were born prior to Christ. Doesn't sit well with me. ( )
Ugolino della Gherardesca (c. 1220 - março de 1289), Conde de Donorático, foi um fidalgo, político e comandante naval italiano. Figura de destaque na Comédia , Dante o retrata ali como um farsante e t raidor . ( )
Tiedot englanninkielisestä Yhteisestä tiedosta.Muokkaa kotoistaaksesi se omalle kielellesi.
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. [translator: Allen Mandelbaum]
Midway this way of life we're bound upon, I woke to find myself in a dark wood, Where the right road was wholly lost and gone. [translator: Dorothy L. Sayers]
Midway in our life's journey, I went astray from the straight road and woke to find myself alone in a dark wood. How shall I say [translator: John Ciardi]
Midway upon the journey of our life I found myself in a dark wilderness, for I had wandered from the straight and true. [translator: Anthony Esolen]
Sitaatit
Viimeiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta.Muokkaa kotoistaaksesi se omalle kielellesi.
And with no care for any rest, we climbed--he first, I following--until I saw, through a round opening, some of those things, of beauty Heaven bears. It was from there that we emerged, to see--once more--the stars. [translator: Allen Mandelbaum]
He first, I following, till my straining sense Glimpsed the bright burden of the heavenly cars Through a round hole; by this we climbed, and thence Came forth, to look once more upon the stars. [translator: Dorothy L. Sayers]
He first, I second, without thought of rest we climbed the dark until we reached the point where a round opening brought in sight the blest and beauteous shining of the Heavenly cars. And we walked out once more beneath the Stars. [translator: John Ciardi]
He first and I behind, we climbed so high that through a small round opening I saw some of the turning beauties of the sky. And we came out to see, once more, the stars. [translator: Anthony Esolen]
Inferno is the first part of Italian poet Dante Alighieri's epic poem Divine Comedy. The allegory describes Dante's journey through the depths of Hell. He is led by the Roman poet Virgil down into the nine circles of Hell, each of which holds and punishes progressively worse sinners. From the First Circle, where unbaptized souls live in peaceful limbo, down to the Ninth Circle, where Satan is trapped in ice, Dante sees firsthand the consequence of unrepentantly sinning against God. Dante published his narrative poem between 1308 and 1321. This version is taken from an 1892 English edition, featuring British author Rev. H. F. Cary's blank verse translation and woodcut illustrations by French artist Gustave Dor.
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Paris Review Challenge : The Divine Comedy, Season 1
5
The idea that Hell is really a hell of one's own making is presented here as well. Capaneus continues to lash out at Jupiter: "let him hurl his bolts at me, no joy of satisfaction would I give him!" He is still the same person, unchanged, as he was in life, which is a condition of the shades in Hell: they will not ever change, their pride will never allow them to repent. Virgil speaks back to him that "no torment other than your rage itself could punish your gnawing pride more perfectly." This psychologically astute envisioning of Hell is not one I was expecting to encounter; I had been underestimating Dante.
In the second half of the canto we get a fascinatingly allegorical and resonant description of the Man of Crete. This is a colossus representing humankind that lies underneath Mt. Ida and whose tears, representing humanity's tears, are the source of Hell's rivers. Dante takes the idea of such a figure from the Book of Daniel, Nebuchadnezzar's dream, and combines it with Ovid's description of the fall of man from the Golden Age down through silver and bronze and finally to the Iron Age that he presents in [b:Metamorphoses|1715|Metamorphoses|Ovid|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1622739150l/1715._SY75_.jpg|2870411]; the colossus is fashioned of gold at the head, silver at the chest, brass to his legs, and then iron - except for a right foot made of terra cotta that he places more weight on, which represents the modern Roman Church. Only the gold portion is unbroken, as the tears carve a fissure down the rest of him.
The idea of Hell's rivers being fed by human tears symbolically falling down a figure representing the fall and decay of man is a powerful poetic image. Also very interesting in that it shows how people in every age and every generation think that theirs is a uniquely bad time in history, going all the way back to Ovid! This is nothing new at all; likely in a thousand years people will think that their time is a uniquely bad time, as humanity continues on its way.
And then on a lighter note, we have the pilgrim, perhaps unconsciously, getting a little jab in at Virgil, who could not get them past the gates of the infernal city of Dis separating Upper from Lower Hell that was guarded by devils - Virgil can handle Classical monsters, but Christian devils are beyond his powers and they had to wait on an angel from Heaven to continue their journey. Here Dante most unnecessarily reminds Virgil of his past failure in introducing a question about their current position: "My master, you who overcome all opposition (except for those tough demons who came to meet us at the gate of Dis), who is that mighty one that seems unbothered...". Petty!
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Finally found a translation, Mark Musa’s, that I really get on with. Also watched and read the lectures and notes from Columbia University’s course on the Commedia alongside reading each canto, which are available for free at digitaldante.columbia.edu, an amazing gift. I would have understood a mere fraction of the context, richness, and literary techniques of this work without those. (