This first volume of Robert Durling's new translation of The Divine Comedy brings a new power and accuracy to the rendering of Dante's extraordinary vision of Hell, with all its terror, pathos, and humor. Remarkably true to both the letter and spirit of this central work of Western literature, Durling's is a prose translation (the first to appear in twenty-five years), and is thus free of the exigencies of meter and rhyme that hamper recent verse translations. As Durling notes, "the closely literal style is a conscious effort to convey in part the nature of Dante's Italian, notoriously craggy and difficult even for Italians." Rigorously accurate as to meaning, it is both clear and supple, while preserving to an unparalleled degree the order and emphases of Dante's complex syntax. The Durling-Martinez Inferno is also user-friendly. The Italian text, newly edited, is printed on each verso page; the English mirrors it in such a way that readers can easily find themselves in relation to the original terza rima. Designed with the first-time reader of Dante in mind, the volume includes comprehensive notes and textual commentary by Martinez and Durling: both are life-long students of Dante and other medieval writers (their Purgatorio and Paradiso will appear next year). Their introduction is a small masterpiece of its kind in presenting lucidly and concisely the historical and conceptual background of the poem. Sixteen short essays are provided that offer new inquiry into such topics as the autobiographical nature of the poem, Dante's views on homosexuality, and the recurrent, problematic body analogy (Hell has a structure parallel to that of the human body). The extensive notes, containing much new material, explain the historical, literary, and doctrinal references, present what is known about the damned souls Dante meets --from the lovers who spend eternity in the whirlwind of their passion, to Count Ugolino, who perpetually gnaws at his enemy's skull--disentangle the vexed party politics of Guelfs and Ghibellines, illuminate difficult and disputed passages, and shed light on some of Dante's unresolved conflicts. Robert Turner's illustrations include detailed maps of Italy and several of its regions, clearly labeled diagrams of the cosmos and the structure of Hell, and eight line drawings illustrating objects and places mentioned in the poem. With its exceptionally high standard of typography and design, the Durling-Martinez Inferno offers readers a solid cornerstone for any home library. It will set the standard for years to come.

Autorentext

Robert M. Durling is Professor Emeritus of Italian and English Literature at the University of California, Santa Cruz. His translation of Petrarch's Lyric Poetry (1976) has been widely acclaimed. Ronald L. Martinez is Associate Professor of Italian at the University of Minnesota, Twin Cities. He is the author of articles on Dante, Boccaccio, Machiavelli, and Ariosto. Robert Turner has been a professional illustrator since 1979; he is employed as a graphic artist in archaeology at the Museum of New Mexico in Santa Fe.

Zusammenfassung
This first volume of Robert Durling's new translation of The Divine Comedy brings a new power and accuracy to the rendering of Dante's extraordinary vision of Hell, with all its terror, pathos, and humor. Remarkably true to both the letter and spirit of this central work of Western literature, Durling's is a prose translation (the first to appear in twenty-five years), and is thus free of the exigencies of meter and rhyme that hamper recent verse translations. As Durling notes, &quote;the closely literal style is a conscious effort to convey in part the nature of Dante's Italian, notoriously craggy and difficult even for Italians.&quote; Rigorously accurate as to meaning, it is both clear and supple, while preserving to an unparalleled degree the order and emphases of Dante's complex syntax. The Durling-Martinez Inferno is also user-friendly. The Italian text, newly edited, is printed on each verso page; the English mirrors it in such a way that readers can easily find themselves in relation to the original terza rima. Designed with the first-time reader of Dante in mind, the volume includes comprehensive notes and textual commentary by Martinez and Durling: both are life-long students of Dante and other medieval writers (their Purgatorio and Paradiso will appear next year). Their introduction is a small masterpiece of its kind in presenting lucidly and concisely the historical and conceptual background of the poem. Sixteen short essays are provided that offer new inquiry into such topics as the autobiographical nature of the poem, Dante's views on homosexuality, and the recurrent, problematic body analogy (Hell has a structure parallel to that of the human body). The extensive notes, containing much new material, explain the historical, literary, and doctrinal references, present what is known about the damned souls Dante meets --from the lovers who spend eternity in the whirlwind of their passion, to Count Ugolino, who perpetually gnaws at his enemy's skull--disentangle the vexed party politics of Guelfs and Ghibellines, illuminate difficult and disputed passages, and shed light on some of Dante's unresolved conflicts. Robert Turner's illustrations include detailed maps of Italy and several of its regions, clearly labeled diagrams of the cosmos and the structure of Hell, and eight line drawings illustrating objects and places mentioned in the poem. With its exceptionally high standard of typography and design, the Durling-Martinez Inferno offers readers a solid cornerstone for any home library. It will set the standard for years to come.

Inhalt

CONTENTS Abbreviations, xv Introduction, 2 PARADISO CANTO 1 Notes to Canto 1 CANTO 2 Notes to Canto 2 CANTO 3 Notes to Canto 3 CANTO 4 Notes to Canto 4 CANTO 5 Notes to Canto 5 CANTO 6 Notes to Canto 6 CANTO 7 Notes to Canto 7 CANTO 8 Notes to Canto 8 CANTO 9 Notes to Canto 9 CANTO 10 Notes to Canto 10 CANTO 11 Notes to Canto 11 CANTO 12 Notes to Canto 12 CANTO 13 Notes to Canto 13 CANTO 14 Notes to Canto 14 CANTO 15 Notes to Canto 15 CANTO 16 Notes to Canto 16 CANTO 17 Notes to Canto 17 CANTO 18 Notes to Canto 18 CANTO 19 Notes to Canto 19 CANTO 20 Notes to Canto 20 CANTO 21 Notes to Canto 21 CANTO 22 Notes to Canto 22 CANTO 23 Notes to Canto 23 CANTO 24 Notes to Canto 24 CANTO 25 Notes to Canto 25 CANTO 26 Notes to Canto 26 CANTO 27 Notes to Canto 27 CANTO 28 Notes to Canto 28 CANTO 29 Notes to Canto 29 CANTO 30 Notes to Canto 30 CANTO 31 Notes to Canto 31 CANTO 32 Notes to Canto 32 CANTO 33 Notes to Canto 33 THE NICENE CREED BOETHIUS' O QUI PERPETUA MUNDUM RATIONE GUBERNAS Notes to "O qui perpetua' ADDITIONAL NOTES 1. The Figure of Beatrice (After Canto 2) 2. The Paradiso and the Monarchia 3.The Primacy of the Intellect, the Sun, and the Circling Theologians (After Canto 14) 4. Dante and the Liturgy (After Canto 15) 5. The Religious Orders in the Paradiso 6. The Threshold Cantos in the Comedy 7. The Fate of Phaethon in the Comedy 8. Circle-Cross-Eagle-Scales: Images in the Paradiso 9. The Final Image 10. The Neoplatonic Background 11. Dante and Neoplatonism 12. Dante's Astrology 13. The Heavens and the Sciences: Convivio 2 14. The Paradiso as Alpha and Omega Textual Variants Bibliography Index of Italian, Latin, and Other Foreign Words Discussed in the Notes Index of Passages Cited in the Notes Index of Proper Names in the Notes Index of Proper Names in the Text and Translation