The Divine Comedy: Inferno - Purgatory - Paradise (Naxos AudioBooks)

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Seeing, hearing, believing Dante.......2007-01-09

This audiobook is a remarkably good addition for the individual who enjoys good literature well read. Superb production values, an excellent reader/actor who imbues the material with accurate intonation and enunciation, cadence, and modulation, makes this one a gem. If you are spending your money wisely, you cannot go wrong with this NAXOS production. This one will be listened to many times. I even purchased the translation in hardcopy to pay closer attention to the reading.

Wonderful Performance.......2006-05-14

This is a wonderful performance of the entire Divine Comedy which one can listen to many times. The reader, Heathecoate Williams, must be some sort of an actor -- full throated furious at times, pale and poignant at others as he wends his way through it all, mimicking all the saints and sinners like a mockingbird. Each of the 100 cantos is prefaced by a short suggestion of period music for a breather and for atmosphere, which does not intrude or ham up the performance, as often happens with similar efforts.

Shameless drama of Williams' variety may be embarrassing to some, out of style to others. But it supplies an important element lacking to the rather dry academic fashion by which most are these days exposed to Dante. Nor is any accuracy of meaning sacrificed thereby. The three parts of the Comedy are all read from a prose translation by a man named Benedict Flynn. I am not aware that this translation is available anywhere in print, but having read several English translations of Dante, the word choice is familiar and sounds properly middle of the road. Truth be told, a dramatic flair does no disservice to this very personal poem at all, which was radical in its day for being written in common vernacular. For the hearer of our language, it places Dante in the ring where he belongs: with the fully engaged Shakespeare of the history plays, not with the closet dramas of a T.S. Eliot or a Robert Lowell.

The set is well worth the price, and the bonus disc lecture on Dante's life not only adds the academic dimension, but makes the price for the whole a steal.

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Dante Musa Style
Bit of a slog after Hell.
A Thoroughly Annotated Translation
Working Our Way Up
UNEARTHLY BEAUTY

The Divine Comedy: Purgatory
Dante Alighieri , and Mark Musa
Manufacturer: Penguin Classics
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Book Description

_The Divine Comedy_ is perhaps the greatest Christian classic ever written, and probably the greatest adveture story ever told. Dante wrote it to entertain, guide, and enrich ordinary readers, not just the intellectual elite. This clear new version with unique aids makes the fascinating story accessible to such readers today.

Those who love Dante best as a storyteller and teacher will find in this book what they have been waiting for...the freshest, clearest, most exact, and most readable Divine Comedy in the English language, with full-page illustrations and original notes.

Customer Reviews:

Dante Musa Style.......2005-07-29

Mark Musa has produced an extremely readable translation of a text that at times can be next to inaccessible. As a non-Dante scholar, I have struggled with other translations. The notes accompanying each canto also are well done: thorough and very illuminating. Musa's deft pen has turned Purgatory into a pleasure.

Bit of a slog after Hell........2001-06-14

By its very title, 'The Divine comedy' announces its theological purpose. For those not so inclined, the 'Inferno' offered many subsidiary pleasures - compelling narrative drive (both in the adventure of two men descinding into hell, and in the stories of the people they meet); an overpowering visual sense, both in the grand design of Hell's geography and the plan of its punishments, and in the individual details of the sinner's torments; and the endearing characterisation of the heroes, Virgil the stern, noble guide, and Dante, the clumsy, gossipy Everyman.

'Purgatory' has fewer of these delights. Here, it is impossible to avoid the doctrine. Every vast visual set-piece (the Angel fighting off the snake in the Valley of the Princes; the Holy Pageant that stuns the Pilgrim in Eden, complete with griffin-drawn chariot; the masque involving violence to said chariot by eagles, foxes, seven-headed monsters and giants) are all so allegorically pre-determined, each feature a religious symbol, that they lack the dramatic force that would have made their images truly poetic.

The plan of Purgatory - the AntePurgatory where those who left repentance to the last moment must wait; the mountain itself, where seven terraces represent the Deadly Sins to be purged; the crowning Earthly Paradise, or Eden, the gateway to Heaven - bears no real comparison, for the reader, to Hell: one's sympathy naturally inclines towards the eternally damned, and one almost resents the complaints of the saved complaining of their discomforture. The stories told the Pilgrim are also of a lesser order - perhaps proving pure evil to be more (aesthetically) attractive than contrition.

There are some moments when genuine terror intrudes - the visions of violation and tempting lust dreamt by the Pilgrim; the baptism of fire he must pass before entering Eden; the show-trial with Beatrice; while tortuous similes and evocations of nature are framed in poetry of intricate beauty (see Borges remarkable essay on the infinite metaphor in Canto 1).

Mark Musa, like most American annotators, has not heeded the lessons of Charles Kinbote, and his commentary to 'Purgatory' is almost loopily overwritten. He is an amiable, enthusiastic and informative guide, and if his translating choices are sometimes questionable, he has the grace to offer other alternatives. His explanation of the purpose of each image or scene makes it easier to follow the poem with greater understanding (if not necessarily enjoyment). But because he concentrates on every line with such minute detail, he frequently misses the wider design, and so, when he is puzzled by lines that don't fit his view of the Comedy, he has a tendency to blame Dante rather than himself.

A Thoroughly Annotated Translation.......2001-04-21

This is the second volume of Alighieri Dante's classic Divine Comedy. It tells the tale of Dante's journey through Purgatory, led by his guide, Virgil. Having passed through the depths of Hell (the Inferno) in the first volume, Dante and Virgil ascend the mountain of Purgatory, passing its many allegorical characters and observing the penances they must fulfill. The Divine Comedy is a beautiful, epic poem that takes the reader through a wide emotional spectrum and many vivid, picturesque scenes from Dante's fictional afterlife.

This translation was wonderful. Each of the 33 Cantos (Chapters) is set up in this sequence: 1) a short summation by the translator, 2) the poem, and 3) notes on names, characters, and items referenced by Dante. The translator, Mark Musa, even explains in his notes when he has a differing interpretation of a word or phrase than other translators' have had.

Dante used so many references to Greek mythology and events that were common knowledge to educated people of the 13th-14th Century that this poem, without notes, is entirely esoteric and fully appreciated only by the most erudite modern-day readers. Mark Musa brings every reader up to par with his thorough, easily-read notes; thereby making this classic poem a very entertaining and profound experience.

Working Our Way Up.......2000-07-20

Inferno is the most famous of the trio of volumes of Dante's Divine Comedy. But don't stop there. Purgatory is a beautiful work, illustrating the rise of the human soul through Purgatory's nine ledges. I found it beautiful how the souls were not hurrying. They waited patiently, yet eagerly.

Musa's translation makes all the difference. The language is accessible, but not irreverent or vulgar. A routine I found helpful was to read the introduction to each canto, read the canto, then read all the notes, checking back to reinforce meanings or double check a name or place.

The Pilgrim's journey through this volume is heavily illustrative of God's grace, and yet the idea of each person's responsibilities to God are clear.

Don't stop reading after Inferno. These stirring translations by Musa make it possible to read, understand and love the whole Divine Comedy.

UNEARTHLY BEAUTY.......1999-05-08

Dante's DIVINE COMEDY: JOURNEY TO JOY, by Kathryn Lindskoog, is a delight to read. This is definitely a reader-friendly retelling of Dante's Christian classic. The original DIVINE COMEDY was written in terza rima, a closely rhymed form of Italian poetry. This version is written in clear and flowing modern English prose, which at times is suggestive of poetry. The reader is given easy-to-follow footnotes, providing historical background and interpretation that make the book readily understandable and enjoyable.

The story can be understood on more than one level. On the literal level, this spiritual adventure first describes Dante's journey, led by the Roman poet Virgil, down through the nine circles of INFERNO, then up the mountain of PURGATORY. There, on PURGATORY's nine ledges, penitent souls move eagerly through repentance and penance, purifying themselves in the joyful knowledge that Paradise awaits them. As an allegory of the Christian experience, PURGATORY relates the pilgrimage of the human soul, homesick for heaven, struggling to be free of an unworthy past, and longing for fulfillment in God.

Dante envisions PURGATORY as a place of unearthly beauty, and here Kathryn Lindskoog's pleasing choice of language makes this book a delight for the reader. Her descriptive passages include such lovely phrases as: "a cliff so steep that nimble legs were useless," ... "a mountain mist...through which you could see only as moles do..." "...gold and fine silver, crimson cloth, ... freshly cracked emeralds - all these colors would look dull next to the grass and flowers in that valley, just as less is always overcome by more." The true glory of Purgatory lies in the sense of eagerness, hope, and anticipation that Dante discovers in the souls he encounters on his journey of spiritual preparation. The book closes with the words, "now I was pure and prepared to rise to the stars."

The Divine Comedy, Part 2: Purgatory
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Poetry even for us monoglots

DOROTHY L. SAYERS' GENIUS GLOWS IN HER TRANSLATION OF THE COMMEDIA

Pleasant Guide

Feel Purgatory

The Least Exciting Of The Series

The Divine Comedy, Part 2: Purgatory
Dante Alighieri , and C. W. Scott-Giles
Manufacturer: Penguin Classics
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Binding: Paperback

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Customer Reviews:

Poetry even for us monoglots.......2007-08-14

Let's begin with Dante. Called "the divine poet" (hence the adjective attached to his humbly titled Commedia), it is a difficult moniker to argue with, not because Dante is writing of heaven but because his imagery, his imagination, and his humility are true imitations of the creative activity of God. Dante is a sublime "sub-creator" to use the coinage of JRR Tolkien. If you can read the Commedia and not be moved to tears, one is tempted to doubt your humanity for Dante portrays the race in all its beauty and putridness and denies neither. He neither celebrates mankind's faculties and achievements beyond their due nor fears to recognize the vileness of which humans are capable.

And it is Canticle II, the poet's ascent through Purgatory, which stirs so deeply the soul and inspires the very penitence and hope of purgation which Dante describes there. One need not be a Roman Catholic or ascribe to Purgatory as doctrine in order to recognize and appreciate what Dante has done in describing the landscape of repentance and hope. (Being a Christian may help, but even on this point one suspects that the divine poet may well perform the function of evangelist, as well as exegete, and lead the searching soul to beatific vision of its own.) Clearly his purpose is not merely to describe what sinners of the past are doing in the afterlife to purify their souls for Paradise, but also to inspire his contemporary readers (who are, of course, yet living when the poem is published in 1321) to examine themselves just as the joyful penitents do on the cornices of Mount Purgatory. It is refreshing--a sort of glorious wound, the healing of which leaves one stronger and more whole than he had been before the hurt.

But what of the translation? We who do not (yet) enjoy the privilege of reading the Commedia in Italian must read the poem in translation--and there are plenty to choose from! Given its primacy among the works of Western Literature in the Middle Ages, the poem has been translated by everyone from Dryden and Pope to Allen Mandelbaum and John Ciardi. So first of all, without question one MUST insist on a verse translation! Prose translations can hardly suffice to communicate the rhythm and terseness of Dante's terza rima which is so integral to the poem. Nor can the majesty of the subject, the grandeur of the poet's climb toward Paradise with all its anticipation and awe be fully communicated in a prose rendering. How well various attempts at verse have succeeded in doing so is the big debate.

In this reviewer's humble opinion, Dorothy L Sayers has succeeded to a degree which surpasses any extant English translation. Are there occasional awkwardnesses? Yes. Is the literal meaning of some lines lost from time to time? Yes, but always for the sake of a gain in some other important respect and always with explanation. Sayers' is the only translation of note which manages to render in English the full terza rima rhyme scheme employed by Dante--and even that feat is worth a few awkward passages or archaisms, it seems to me. One feels much closer to the Divine Poet reading Sayers' translation aloud than, say, Ciardi's half-attempted rhymes, lucid as he can often be.

Whatever else you do, read the Commedia--all of it! It is rather unfortunate that it has become common practice to publish the poem in three volumes rather than presenting it as an integrated whole. Though the familiarity of many ends with Inferno, those who press on I suspect will love Purgatorio best (but fortunately one is not forced to choose), and I am confident readers will be well rewarded for reading Sayers' brilliant translation. One would be hard pressed to find a translator who was more passionate about her subject and who labored more lovingly and meticulously over her rendering of this beloved work than Dorothy L Sayers.

DOROTHY L. SAYERS' GENIUS GLOWS IN HER TRANSLATION OF THE COMMEDIA.......2006-08-11

This project was her dying effort after a lifetime of great achievements in scholarship and literature. She again proves her genius here with Dante, as in her translation of the Inferno, making an intelligent translation into her contemporary and scholarly English. Incredible achievement for a woman, the first to graduate from Oxford, who wrote treatises in THeology as well as the wonderful Lord Whimsey detective series.

Pleasant Guide.......2004-04-12

A warning: this is by now an rather old translation, and theres always more to explore in Dante. That being said, it has many insights newer translations lack, and its a brilliant example of a period - if you want to understand how the understanding of Dante has developed, this is a must.
Oh, and by the way, if one can read of the Earthly Paradise and not be moved, one is cheating oneself (as I found out, fortunately). Purgatory is just as much worth the effort as its two Higher and Lower brothers.

Feel Purgatory.......2001-03-01

It was always hard for the majority of readers to feel purgatory just like the inferno. That the own Dante knew, he wrote about this in "Purgatory" because here, differently from "Inferno", Dante desired a crescent climax with connected episodes, the specific episodes are not passionate as inferno`s, that is the purpose: those in purgatory do not feel passions as desirable, "isn't it one more irony of Dante?". Think about it for solving more this enigm of the Divine Comedy.

The Least Exciting Of The Series.......1998-03-20

I would not suggest reading this one as a "stand alone." With The Inferno as the most horriffic place Dante's ever been & The Paradiso as the most wonderful, you can imagine (and you'd be correct) that Purgatory is the most middle-of-the-road. It's essential to the Divine Comedy as a whole, if you intend to follow & understand Dante's journey... but it's also the least impressive piece of the puzzle.

Dante's Divine Comedy: Hell, Purgatory, Paradise

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A classic only for $17.98
dante, longfellow and dore'

Dante's Divine Comedy: Hell, Purgatory, Paradise
Dante Alighieri
Manufacturer: Chartwell Books
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Binding: Hardcover

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A classic only for $17.98.......2007-06-08

NOTE: Barnes and Noble sells it for only $17.98 in store or online.

Great translation.The classic black and white illustrations by THE master Gustave Dore. A must for your classics library. I bought it at B&N, very happy with the quality of paper and the lay-out.
This title is quite large in size, almost coffee table book style. Not for dragging around the beach.
Highly recommended!

dante, longfellow and dore'.......2007-04-18

this is a beautiful book and contains all three volumes of the divine comedy. the longfellow translation is very clear and readable and i like the fact that he didn't try to reproduce the rhyme. the language is only slightly outdated in places, but i don't mind that since it is a very old poem and the slightly formal language gives it a classic feel. the original woodcut illustrations are wonderful, there are many of them, and the whole thing adds up to a very nice volume.

Dante's Purgatorio (The Divine Comedy, Volume 2, Purgatory) (The Divine Comedy)

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Medieval vision of the afterlife

Dante's Purgatorio (The Divine Comedy, Volume 2, Purgatory) (The Divine Comedy)
Dante Alighieri
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Book Description

The "Divine Comedy" was entitled by Dante himself merely "Commedia," meaning a poetic composition in a style intermediate between the sustained nobility of tragedy, and the popular tone of elegy. The word had no dramatic implication at that time, though it did involve a happy ending. The poem is the narrative of a journey down through Hell, up the mountain of Purgatory, and through the revolving heavens into the presence of God. In this aspect it belongs to the two familiar medieval literary types of the Journey and the Vision. It is also an allegory, representing under the symbolism of the stages and experiences of the journey, the history of a human soul, painfully struggling from sin through purification to the Beatific Vision. Contained in this volume is the second part of the "Divine Comedy," the "Purgatorio" or "Purgatory," from the translation of Charles Eliot Norton.

Customer Reviews:

Medieval vision of the afterlife.......2007-05-01

This was required reading for a graduate course in medieval history.
"The Divine Comedy" describes Dante's journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso), guided first by the Roman epic poet Virgil and then by Beatrice, the subject of his love and another of his works, "La Vita Nuova." While the vision of Hell, the Inferno, is vivid for modern readers, the theological niceties presented in the other books require a certain amount of patience and scholarship to understand. Purgatorio, the most lyrical and human of the three, also has the most poets in it; Paradiso, the most heavily theological, has the most beautiful and ecstatic mystic passages in which Dante tries to describe what he confesses he is unable to convey (e.g., when Dante looks into the face of God: "all'alta fantasia qui mancò possa" - "at this high moment, ability failed my capacity to describe," Paradiso, XXXIII, 142).

Dante wrote the Comedy in his regional dialect. By creating a poem of epic structure and philosophic purpose, he established that the Italian language was suitable for the highest sort of expression, and simultaneously established the Tuscan dialect as the standard for Italian. In French, Italian is nicknamed la langue de Dante. Publishing in the vernacular language marked Dante as one of the first (among others such as Geoffrey Chaucer and Giovanni Boccaccio) to break from standards of publishing in only Latin or Greek (the languages of Church and antiquity). This break allowed more literature to be published for a wider audience - setting the stage for greater levels of literacy in the future.

Readers often cannot understand how such a serious work may be called a "comedy". In Dante's time, all serious scholarly works were written in Latin (a tradition that would persist for several hundred years more, until the waning years of the Enlightenment) and works written in any other language were assumed to be comedic in nature. Furthermore, the word "comedy," in the classical sense, refers to works which reflect belief in an ordered universe, in which events not only tended towards a happy or "amusing" ending, but an ending influenced by a Providential will that orders all things to an ultimate good. By this meaning of the word, the progression of Dante's pilgrim from Hell to Paradise is the paradigmatic expression of comedy, since the work begins with the pilgrim's moral confusion and ends with the vision of God.

The Divine Comedy can be described simply as an allegory: Each canto, and the episodes therein, can contain many alternate meanings. Dante's allegory, however, is more complex, and, in explaining how to read the poem (see the "Letter to Can Grande della Scala"), he outlines other levels of meaning besides the allegory (the historical, the moral, the literal, and the anagogical). The structure of the poem, likewise, is quite complex, with mathematical and numerological patterns arching throughout the work, particularly threes and nines. The poem is often lauded for its particularly human qualities: Dante's skillful delineation of the characters he encounters in Hell, Purgatory, and Paradise; his bitter denunciations of Florentine and Italian politics; and his powerful poetic imagination. Dante's use of real characters, according to Dorothy Sayers in her introduction to her translation of "L'Inferno", allows Dante the freedom of not having to involve the reader in description, and allows him to "[make] room in his poem for the discussion of a great many subjects of the utmost importance, thus widening its range and increasing its variety."

Dante called the poem "Comedy" (the adjective "Divine" added later in the 16th century) because poems in the ancient world were classified as High ("Tragedy") or Low ("Comedy"). Low poems had happy endings and were of everyday or vulgar subjects, while High poems were for more serious matters. Dante was one of the first in the Middle Ages to write of a serious subject, the Redemption of man, in the low and vulgar Italian language and not the Latin language as one might expect for such a serious topic.

Purgatorio
Having survived the depths of Hell, Dante and Virgil ascend out of the undergloom, to the Mountain of Purgatory on the far side of the world (in Dante's time, it was believed that Hell existed underneath Jerusalem). The Mountain is on an island, the only land in the Southern Hemisphere. At the shores of Purgatory, Dante and Virgil are attracted by a musical performance by Casella, but are reprimanded by Cato, a pagan who has been placed by God as the general guardian of the approach to the mountain. The text gives no indication whether or not Cato's soul is destined for heaven: his symbolic significance has been much debated. (Cantos I and II).

Dante starts the ascent on Mount Purgatory. On the lower slopes (designated as "ante-Purgatory" by commentators) Dante meets first a group of excommunicates, detained for a period thirty times as long as their period of contumacy. Ascending higher, he encounters those too lazy to repent until shortly before death, and those who suffered violent deaths (often due to leading extremely sinful lives). These souls will be admitted to Purgatory thanks to their genuine repentance, but must wait outside for an amount of time equal to their lives on earth (Cantos III through VI). Finally, Dante is shown a beautiful valley where he sees the lately-deceased monarchs of the great nations of Europe, and a number of other persons whose devotion to public and private duties hampered their faith (Cantos VII and VIII). From this valley Dante is carried (while asleep) up to the gates of Purgatory proper (Canto IX).

The gate of Purgatory is guarded by an angel who uses the point of his sword to draw the letter "P" (signifying peccatum, sin) seven times on Dante's forehead, abjuring him to "wash you those wounds within". The angel uses two keys, gold and silver, to open the gate and warns Dante not to look back, lest he should find himself outside the gate again, symbolizing Dante having to overcome and rise above the hell that he has just left and thusly leaving his sinning ways behind him. From there, Virgil guides the pilgrim Dante through the seven terraces of Purgatory. These correspond to the seven deadly sins, each terrace purging a particular sin in an appropriate manner. Those in purgatory can leave their circle whenever they like, but essentially there is an honors system where no one leaves until they have corrected the nature within themselves that caused them to commit that sin. Souls can only move upwards and never backwards, since the intent of Purgatory is for souls to ascend towards God in Heaven, and can ascend only during daylight hours, since the light of God is the only true guidance.

Recommended reading for anyone interested in literature and medieval history.

The Divine Comedy, II. Purgatorio. Part 1

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The Divine Comedy, II. Purgatorio. Part 1
Dante
Manufacturer: Princeton University Press
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The Divine Comedy of Dante Alighieri, Hell, Purgatory, Paradise, with Introductions and Notes (The Harvard Classics, Deluxe Editions, Registered Editions)

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The Divine Comedy of Dante Alighieri, Hell, Purgatory, Paradise, with Introductions and Notes (The Harvard Classics, Deluxe Editions, Registered Editions)

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Dante Alighieri's Divine Comedy: Purgatory - Italian Text With Verse Translation; Purgatory - Notes and Commentary (Indiana Masterpiece Editions)

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Medieval vision of the afterlife

Dante Alighieri's Divine Comedy: Purgatory - Italian Text With Verse Translation; Purgatory - Notes and Commentary (Indiana Masterpiece Editions)
Dante Alighieri , and Mark Musa
Manufacturer: Indiana University Press
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Medieval vision of the afterlife.......2007-05-01

The Divine Comedy, II. Purgatorio. Part 2

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Medieval vision of the afterlife
Do not buy this in paperback
Key to the commedia

The Divine Comedy, II. Purgatorio. Part 2
Dante
Manufacturer: Princeton University Press
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Medieval vision of the afterlife.......2007-05-01

Do not buy this in paperback.......2007-02-11

The pages fall out as soon as you open the first volumn. Sell a child and spring for the hardback editions.

Key to the commedia.......2005-10-29

Reading the Commedia in translation is always second-best to working through it in Italian; but unless you are a native speaker who also knows some Spanish and Latin, it can be tough going. That is where the three Singleton companion volumes are worth their weight in gold. They contain a canto-by-canto analysis of the multiplicity of allusions and references to all things political, philosophical and theological that make the depth of the work virtually unparalled in Western Lit.
While the Commedia isn't for everyone, the Singleton glosses are for anyone who wants to read and understand Dante on his terms. Combine these three volumes with the Grandgent Italian text, e non c'e bisogna d'altre cose per incontrar la via diritta ed esso che move il sole e l'altre stelle.

The Divine Comedy: Hell - Purgatory - Heaven (Poetica, 30)

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The Divine Comedy: Hell - Purgatory - Heaven (Poetica, 30)
Dante Alighieri , and Peter Dale
Manufacturer: Anvil Press
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One of the supreme works of world literature in Peter Dale's contemporary terza rima translation-the best single-volume edition available.

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