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Divine Comedy, Cary's Translation, Hell
Divine Comedy, Cary's Translation, Hell
Divine Comedy, Cary's Translation, Hell
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Divine Comedy, Cary's Translation, Hell

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Release dateFeb 21, 1931
Divine Comedy, Cary's Translation, Hell

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  • Rating: 4 out of 5 stars
    4/5
    A handsome book, but a clunky and awkward translation.
  • Rating: 5 out of 5 stars
    5/5
    Dante's journey through Hell ranks in my top 5 favorite books. I especially like this translation, as it keeps the language modern enough to be readable, but is still beautiful. Also, there are plenty of foot and end notes to explain middle age-phrases and historical references many people may not be familiar with.
  • Rating: 4 out of 5 stars
    4/5
    I'm not a religious man in the least, but - like the great works of Classical composers, or the Sistine Chapel - that's hardly a consideration when reading a soaring work of near-ancient literature. Esolen's translation is marvellous, attempting to keep rhyme, meter and meaning in check, without ever sacrificing beauty. What results is a work of epic poetry which, while adhering to rules, is more than happy to flaunt them when necessary. Dante's vision is quite clever, and - although you will need copious notes at times to understand the medieval Italian history references - a sublimely beautiful piece.
  • Rating: 5 out of 5 stars
    5/5
    Dante's journey through Hell ranks in my top 5 favorite books. I especially like this translation, as it keeps the language modern enough to be readable, but is still beautiful. Also, there are plenty of foot and end notes to explain middle age-phrases and historical references many people may not be familiar with.
  • Rating: 5 out of 5 stars
    5/5
    I've read this book, the first of three, in French, when I was 25, and I immediately was swept away by its poetic force, its classical symmetrical construction and its sharp and benign view on the human condition. Brilliantly composed. Each canto tells the story of several prominent historical persons, set in breathtaking landscapes. Tragedy is all around, sometimes with a comical touch, but almost always compassionate. The filosofical and theological dimensions are less prominent than in book II and III. I've reread this book in Dutch (both prose and lyrical translation) and in the original Italian. An everlasting treasure.
  • Rating: 4 out of 5 stars
    4/5
    This is my first exposure to Dante's writing. I was looking for poetry by a different author when I came across this translation. When I saw the narrator, I decided it was time to read/hear some Dante :)

    Dante sure thought a lot of himself! Good grief, even when he's singing the praises of some denizen of limbo, he's doing so in the context of being the vehicle of their remembrance among the living. You've probably heard the idiom, "damning with faint praise." Over and over, Dante praises himself with faint condemnation. No, Dante, it's not actually all that terrible that you trembled with fear while faced with the horrors of the pit.

    I want to read an annotated translation of The Inferno. I could be wrong, but I'm pretty sure he was mocking and calling out some of his contemporaries, as well as commenting on figures from the past.

    Most of the work came from describing and talking to the denizens of the various neighborhood of perdition, but he didn't stint on describing the environs. He readily sketched the horrific backdrops to his interactions, giving just enough detail to be clear, but leaving space for the imagination to fill in the unmentioned horrors. This is not at all bedtime listening.

    I seemed to sense some negative commentary on Church doctrine, but I'm not sure if that was in the text, or if that came from my 20th/21st century perspective. For instance, he lamented the number of people, even great and good people, condemned to Limbo simply because they lived before the establishment of Christianity. To my ear, that's a reason to question the church - but to Dante it may have been just another thing that was and didn't need to be questioned.
  • Rating: 2 out of 5 stars
    2/5
    Stick with the original, this is "clever" yet not "readable."
  • Rating: 4 out of 5 stars
    4/5
    I liked this classic poem more than I expected. I may have lucked out with the translation, but I found the Inferno much easier to read than the excerpts I remember from my high school textbook. I also had the added context of having taken several classes on Florentine history in college, and I could spot a few of the cultural references Dante makes. Overall, this made for much richer reading than I expected and I'm tempted to picked up the next two books in the Divine Comedy.
  • Rating: 4 out of 5 stars
    4/5
    I hate Shakespeare so I didn't think I'd like this, but I did. Really cool, every scene became real in my head, the black and white, cartoon version at least. The craziest part -- hell is real, to Dante and all the Catholics who read it when it was first published. How horrifying for them. Next time my grandmother wants me to go to mass with her, I'll go. He's a beautiful writer, and so modern but I don't know if thats just the English translation. Interesting perspectives on sin. It's like he knows to sin is a natural part of being human, which I keep forgetting. I hate to read those little summaries they give you because I want to read it the same way people have been for hundreds of years. He sort of invented hell, or he really saw it. The world was much more spiritual back then so to be honest I wouldn't rule it out. Maybe he saw all this in a dream. I don't know if I completely got this book but I'm just gonna keep reading it until I do. It's better if you don't read others' explanations of books like these, I think, because it is better to read it how people have always read it, and you can preserve your original reactions, based on your personal background in religion, nationality, language, faith, and sin. Maybe you think you belong in hell, maybe you think you belong in heaven, or maybe you don't believe in either or God or maybe you have your own definition of purgatory, and this will change the way we all feel about what Dante describes.
  • Rating: 5 out of 5 stars
    5/5
    Gets 5 star for the translation as much as the masterpiece itself - Pinsky really puts the fun back in the Inferno! ; )
  • Rating: 2 out of 5 stars
    2/5
    I have finally read the Inferno and if I am going to be honest, I'm not sure what all the fuss is about. Not being a student of Italian literature and having read Clive James' English translation there was probably a lot I was missing, in the original, but I found that it was really just a horror story with the added s pice of the author being able to denigrate persons he didn't like. All this would have been extremely entertaining at the time when the names were topical, but I do not understand why it is considered such a classic. It was just a litany of various types of physical torture with no overarching point that I could see, except to list all that horror.
  • Rating: 4 out of 5 stars
    4/5
    I read the Longfellow translation and despite a huge lack of historical knowledge about Dante's contemporary Florence I really enjoyed Inferno.

    The imaginative punishments are gruesome enough to capture your attention and the whole poem is successful in painting quite a visual image of Dante's incarnation of hell.

  • Rating: 4 out of 5 stars
    4/5
    Peter Thornton's verse translation of the first book of the Divine Commedy, The Inferno, is certainly readable. To the extent that that was an (the?) intention it succeeds. I think for a general reader who just wants to know why The Inferno has remained influential this will serve them well. There are plenty of contextualizing notes, a must for just about any translation, which will make understanding why certain people are where they are comprehensible to a contemporary reader.For study purposes I have my doubts but I have my own favorite translations so am doing more of a comparison than simply an isolated assessment. First, my preferred verse translation is still Ciardi's version (plus, if for study purposes, he translated all of the Comedy not just one book so you don't have to change translations when you leave the Inferno). Part of my favoritism here is likely because it was the third version I had read and the first with a professor who made it come alive for me, so I do want to acknowledge that. Part of it for me is how the translators try to solve the issue of form. Some compromise is necessary to make an English translation and I am not sure there is a right vs a wrong way, they will all fall well short of Dante in Italian. I just think that wrestling with a form closer to Dante's helps students to slow down and do a better close reading while making it too easy to read turns Dante's work into simply a story that can be read quickly and easily. Again, this is personal opinion and preference. The necessary notes will keep the work from being read like a contemporary novel and could, with the right effort from an instructor, keep the reading close. I just have a hard time imagining The Inferno as an easy read and hope not to see this type of translation of Purgatorio or Paradiso since those should be more difficult to grasp in keeping with Dante's apparent intentions.I would certainly recommend this to general readers who just want to read it and maybe for high school classes that want to get through it with just a few areas of closer reading. I would also recommend instructors look at it and decide if this translation would serve their purposes for what they hope to achieve in their courses. It is a good translation even though I would personally choose not to use it.Reviewed from a copy made available by the publisher via Edelweiss.
  • Rating: 3 out of 5 stars
    3/5
    Gave me nightmares.
  • Rating: 4 out of 5 stars
    4/5
    The primary virtue of the Oxford / Sinclair edition is the parallel text, which means that you can both appreciate the beauty of Dante's original, and make sure that you miss none of the finer points by following the English translation. Each canto has its own introduction and endnotes, which means that important contextual information is always at hand. Inferno is for me by far the most engaging cantica, as Dante creates ever more imaginative tortures for the souls condemned to each circle of Hell. An absolute classic.
  • Rating: 4 out of 5 stars
    4/5
    Amazing and bizarre. To have lived in a time awhen the fires and ice of hell were as real as the sun rising each day. The horrors of The Inferno were certainly cautionary, but not exactly in keeping with what modernity would deem the correct weight of sins. On to Purgatorio.
  • Rating: 5 out of 5 stars
    5/5
    I've read this book, the first of three, in French, when I was 25, and I immediately was swept away by its poetic force, its classical symmetrical construction and its sharp and benign view on the human condition. Brilliantly composed. Each canto tells the story of several prominent historical persons, set in breathtaking landscapes. Tragedy is all around, sometimes with a comical touch, but almost always compassionate. The filosofical and theological dimensions are less prominent than in book II and III. I've reread this book in Dutch (both prose and lyrical translation) and in the original Italian. An everlasting treasure.
  • Rating: 2 out of 5 stars
    2/5
    As much as I enjoyed reading about the tortures he designed for his Florentine political opponents, I spent entirely too much time reading about all these characters in the footnotes. He designed an interesting underworld that was essentially Christian but integrated diverse figures from the Bible, contemporary Italy, classical Greece and Rome, and Classical mythology.
  • Rating: 4 out of 5 stars
    4/5
    .The Divine Comedy of Dante Alighieri: the Inferno. A verse translation by Allen Mandelbaum. 1982. I had big plans to spend the summer studying The Inferno. I didn’t and ended up skimming part of it to be ready for the book club. I will go back and read it more carefully and study the maps and the notes that are included as read Purgatorio before our next meeting. This masterpiece deserves much more than I have given it.
  • Rating: 3 out of 5 stars
    3/5
    It was kind of hard to understand but once I got it, it turned out to be super interesting.
  • Rating: 4 out of 5 stars
    4/5
    It's interesting but I'm not sure what all the fuss is about. The morality seems rather heavy-handed, maybe I'm not digging deep enough into it.
  • Rating: 5 out of 5 stars
    5/5
    I never would have understood this book if my professor hadn't guided the class through it. Regardless, it became one of the most interesting piece's of literature I have ever read. I frequently think about. 'Abandon Hope All Ye Who Enter Here," says the sign above the entrance to hell. Now, that's cool . . . I mean hot. Whatever.
  • Rating: 4 out of 5 stars
    4/5
    I'd never read this, though references to it abound in countless books, movies, etc. I found the translation (having not even the slightest knowledge of Italian) very readable/accessible/beautiful in parts. Recommendation: if you want to find out the source of most of what we think about hell, go to hell...with Dante.
  • Rating: 4 out of 5 stars
    4/5
    I listened to this book on CD instead of actually reading it. The version that I had had an explination at the beginning of each verse to help you understand and then read the verse.

    In this book, you travel with Dante through the 9 circles of hell.

    I really liked this book. I forgot how much I liked Greek Mythology (which I did not expect in this book at all). It has pushed me to look into more mythology again.
  • Rating: 3 out of 5 stars
    3/5
    Mildly amusing, though this ostensibly pure Christian author clearly has a perverse streak running through him. (As does the Christian God, so not surprising.)
  • Rating: 5 out of 5 stars
    5/5
    If you haven't walked through Hell with Dante, I highly recommend you do so immediately. It's quite nice.
  • Rating: 5 out of 5 stars
    5/5
    Fantastic, even though the Sayers translation may give up too much in the battle to stick to the terza rima scheme. It's not a fatal flaw by any means, but the tendency is particularly noticeable in some of the classic lines: "I could never have believed death had undone so many" becomes "It never would have entered my head / There were so many men whom death had slain" in order to cram the square English into the round Italian.
  • Rating: 3 out of 5 stars
    3/5
    I read the Ciardi translation in college, and this had a similar feel. It read a little more like prose than poetry--it's unrhymed, though it still has a nice rhythm. Really drags when you get closer to the end, though.
  • Rating: 2 out of 5 stars
    2/5
    Almost totally pointless to read without an extensive grounding in 13th century Italian political history. I'm not surprised that Dante took the narrative of exploring hell as an opportunity to portray the supposedly deserved suffering of various recent historical figures he hated but I was not prepared for the extent to which he single-mindedly devoted the Inferno to this purpose and nothing else, just one long catalog of medieval Italians I'd never heard of and what a just God would posthumously wreak on them. Also Simon told me there's a cute fan-fictioney current to the relationship with Virgil, and I thought he was exaggerating but no, it's definitely there - there's one point where Dante talks about how one of his slams on these dead Italian assholes was so on target that Virgil decided to show how happy he was with it by carrying Dante around in his big strong poet arms for a while. Anyway this is cute and gay but it's not enough to carry my interest through the book.
  • Rating: 4 out of 5 stars
    4/5
    Obviously an amazing work. I just got bogged down in the middle, and it took me forever to finish. I think I would have gotten far more out of it in the context of a class that dealt with the many layers of references, or if I had simply taken more time to read the notes...but as it was, I just didn't really commit to it on a level that could remotely do it justice. I still look forward to reading Purgatorio and Paradiso, though.

Book preview

Divine Comedy, Cary's Translation, Hell - Henry Francis Cary

The Project Gutenberg EBook of Hell, by Dante Alighieri

This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net

Title: Hell The Inferno from The Divine Comedy

Author: Dante Alighieri

Release Date: August 7, 2004 [EBook #1005]

Language: English

*** START OF THIS PROJECT GUTENBERG EBOOK HELL ***

Produced by Judith Smith and Natalie Salter

HELL

OR THE INFERNO FROM THE DIVINE COMEDY

BY

DANTE ALIGHIERI

TRANSLATED BY

THE REV. H. F. CARY, M.A.

HELL

Cantos 1 - 34

CANTO I

IN the midway of this our mortal life,

I found me in a gloomy wood, astray

Gone from the path direct: and e'en to tell

It were no easy task, how savage wild

That forest, how robust and rough its growth,

Which to remember only, my dismay

Renews, in bitterness not far from death.

Yet to discourse of what there good befell,

All else will I relate discover'd there.

How first I enter'd it I scarce can say,

Such sleepy dullness in that instant weigh'd

My senses down, when the true path I left,

But when a mountain's foot I reach'd, where clos'd

The valley, that had pierc'd my heart with dread,

I look'd aloft, and saw his shoulders broad

Already vested with that planet's beam,

Who leads all wanderers safe through every way.

Then was a little respite to the fear,

That in my heart's recesses deep had lain,

All of that night, so pitifully pass'd:

And as a man, with difficult short breath,

Forespent with toiling, 'scap'd from sea to shore,

Turns to the perilous wide waste, and stands

At gaze; e'en so my spirit, that yet fail'd

Struggling with terror, turn'd to view the straits,

That none hath pass'd and liv'd. My weary frame

After short pause recomforted, again

I journey'd on over that lonely steep,

The hinder foot still firmer. Scarce the ascent

Began, when, lo! a panther, nimble, light,

And cover'd with a speckled skin, appear'd,

Nor, when it saw me, vanish'd, rather strove

To check my onward going; that ofttimes

With purpose to retrace my steps I turn'd.

The hour was morning's prime, and on his way

Aloft the sun ascended with those stars,

That with him rose, when Love divine first mov'd

Those its fair works: so that with joyous hope

All things conspir'd to fill me, the gay skin

Of that swift animal, the matin dawn

And the sweet season. Soon that joy was chas'd,

And by new dread succeeded, when in view

A lion came, 'gainst me, as it appear'd,

With his head held aloft and hunger-mad,

That e'en the air was fear-struck. A she-wolf

Was at his heels, who in her leanness seem'd

Full of all wants, and many a land hath made

Disconsolate ere now. She with such fear

O'erwhelmed me, at the sight of her appall'd,

That of the height all hope I lost. As one,

Who with his gain elated, sees the time

When all unwares is gone, he inwardly

Mourns with heart-griping anguish; such was I,

Haunted by that fell beast, never at peace,

Who coming o'er against me, by degrees

Impell'd me where the sun in silence rests.

While to the lower space with backward step

I fell, my ken discern'd the form one of one,

Whose voice seem'd faint through long disuse of speech.

When him in that great desert I espied,

Have mercy on me! cried I out aloud,

Spirit! or living man! what e'er thou be!

He answer'd: "Now not man, man once I was,

And born of Lombard parents, Mantuana both

By country, when the power of Julius yet

Was scarcely firm. At Rome my life was past

Beneath the mild Augustus, in the time

Of fabled deities and false. A bard

Was I, and made Anchises' upright son

The subject of my song, who came from Troy,

When the flames prey'd on Ilium's haughty towers.

But thou, say wherefore to such perils past

Return'st thou? wherefore not this pleasant mount

Ascendest, cause and source of all delight?"

"And art thou then that Virgil, that well-spring,

From which such copious floods of eloquence

Have issued?" I with front abash'd replied.

"Glory and light of all the tuneful train!

May it avail me that I long with zeal

Have sought thy volume, and with love immense

Have conn'd it o'er. My master thou and guide!

Thou he from whom alone I have deriv'd

That style, which for its beauty into fame

Exalts me. See the beast, from whom I fled.

O save me from her, thou illustrious sage!"

"For every vein and pulse throughout my frame

She hath made tremble." He, soon as he saw

That I was weeping, answer'd, "Thou must needs

Another way pursue, if thou wouldst 'scape

From out that savage wilderness. This beast,

At whom thou criest, her way will suffer none

To pass, and no less hindrance makes than death:

So bad and so accursed in her kind,

That never sated is her ravenous will,

Still after food more craving than before.

To many an animal in wedlock vile

She fastens, and shall yet to many more,

Until that greyhound come, who shall destroy

Her with sharp pain. He will not life support

By earth nor its base metals, but by love,

Wisdom, and virtue, and his land shall be

The land 'twixt either Feltro. In his might

Shall safety to Italia's plains arise,

For whose fair realm, Camilla, virgin pure,

Nisus, Euryalus, and Turnus fell.

He with incessant chase through every town

Shall worry, until he to hell at length

Restore her, thence by envy first let loose.

I for thy profit pond'ring now devise,

That thou mayst follow me, and I thy guide

Will lead thee hence through an eternal space,

Where thou shalt hear despairing shrieks, and see

Spirits of old tormented, who invoke

A second death; and those next view, who dwell

Content in fire, for that they hope to come,

Whene'er the time may be, among the blest,

Into whose regions if thou then desire

T' ascend, a spirit worthier then I

Must lead thee, in whose charge, when I depart,

Thou shalt be left: for that Almighty King,

Who reigns above, a rebel to his law,

Adjudges me, and therefore hath decreed,

That to his city none through me should come.

He in all parts hath sway; there rules, there holds

His citadel and throne. O happy those,

Whom there he chooses!" I to him in few:

"Bard! by that God, whom thou didst not adore,

I do beseech thee (that this ill and worse

I may escape) to lead me, where thou saidst,

That I Saint Peter's gate may view, and those

Who as thou tell'st, are in such dismal plight."

Onward he mov'd, I close his steps pursu'd.

CANTO II

NOW was the day departing, and the air,

Imbrown'd with shadows, from their toils releas'd

All animals on earth; and I alone

Prepar'd myself the conflict to sustain,

Both of sad pity, and that perilous road,

Which my unerring memory shall retrace.

O Muses! O high genius! now vouchsafe

Your aid! O mind! that all I saw hast kept

Safe in a written record, here thy worth

And eminent endowments come to proof.

I thus began: "Bard! thou who art my guide,

Consider well, if virtue be in me

Sufficient, ere to this high enterprise

Thou trust me. Thou hast told that Silvius' sire,

Yet cloth'd in corruptible flesh, among

Th' immortal tribes had entrance, and was there

Sensible present. Yet if heaven's great Lord,

Almighty foe to ill, such favour shew'd,

In contemplation of the high effect,

Both what and who from him should issue forth,

It seems in reason's judgment well deserv'd:

Sith he of Rome, and of Rome's empire wide,

In heaven's empyreal height was chosen sire:

Both which, if truth be spoken, were ordain'd

And 'stablish'd for the holy place, where sits

Who to great Peter's sacred chair succeeds.

He from this journey, in thy song renown'd,

Learn'd things, that to his victory gave rise

And to the papal robe. In after-times

The chosen vessel also travel'd there,

To bring us back assurance in that faith,

Which is the entrance to salvation's way.

But I, why should I there presume? or who

Permits it? not, Aeneas I nor Paul.

Myself I deem not worthy, and none else

Will deem me. I, if on this voyage then

I venture, fear it will in folly end.

Thou, who art wise, better my meaning know'st,

Than I can speak." As one, who unresolves

What he hath late resolv'd, and with new thoughts

Changes his purpose, from his first intent

Remov'd; e'en such was I on that dun coast,

Wasting in thought my enterprise, at first

So eagerly embrac'd. "If right thy words

I scan," replied that shade magnanimous,

"Thy soul is by vile fear assail'd, which oft

So overcasts a man, that he recoils

From noblest resolution, like a beast

At some false semblance in the twilight gloom.

That from this terror thou mayst free thyself,

I will instruct thee why I came, and what

I heard in that same instant, when for thee

Grief touch'd me first. I was among the tribe,

Who rest suspended, when a dame, so blest

And lovely, I besought her to command,

Call'd me; her eyes were brighter than the star

Of day; and she with gentle voice and soft

Angelically tun'd her speech address'd:

"O courteous shade of Mantua! thou whose fame

Yet lives, and shall live long as nature lasts!

A friend, not of my fortune but myself,

On the wide desert in his road has met

Hindrance so great, that he through fear has turn'd.

Now much I dread lest he past help have stray'd,

And I be ris'n too late for his relief,

From what in heaven of him I heard. Speed now,

And by thy eloquent persuasive tongue,

And by all means for his deliverance meet,

Assist him. So to me will comfort spring.

I who now bid thee on this errand forth

Am Beatrice; from a place I come

(Note: Beatrice. I use this word, as it is pronounced in the Italian, as consisting of four syllables, of which the third is a long one.)

Revisited with joy. Love brought me thence,

Who prompts my speech. When in my Master's sight

I stand, thy praise to him I oft will tell."

She then was silent, and I thus began:

"O Lady! by whose influence alone,

Mankind excels whatever is contain'd

Within that heaven which hath the smallest orb,

So thy command delights me, that to obey,

If it were done already, would seem late.

No need hast thou farther to speak thy will;

Yet tell the reason, why thou art not loth

To leave that ample space, where to return

Thou burnest, for this centre here beneath."

She then: "Since thou so deeply wouldst inquire,

I will instruct thee briefly, why no dread

Hinders my entrance here. Those things alone

Are to be fear'd, whence evil may proceed,

None else, for none are terrible beside.

I am so fram'd by God, thanks to his grace!

That any suff'rance of your misery

Touches me not, nor flame of that fierce fire

Assails me. In high heaven a blessed dame

Besides, who mourns with such effectual grief

That hindrance, which I send thee to remove,

That God's stern judgment to her will inclines."

To Lucia calling, her she thus bespake:

"Now doth thy faithful servant need thy aid

And I commend him to thee." At her word

Sped Lucia, of all cruelty the foe,

And coming to the

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