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La Divina Commedia #1
Inferno
Professor Esolen's translation of Dante's Inferno is the best one I have seen, for two reasons. His decision to use unrhymed blank verse allows him to come nearly as close to the meaning of the original as any prose reading could do, and allows him also to avoid the harrowing sacrifices that the demand for rhyme imposes on any translator. And his endnotes and other additions provoke answers to almost any question that could arise about the work." 鈥擜. Kent Hieatt
A groundbreaking bilingual edition of Dante's masterpiece that includes a substantive Introduction, extensive notes, and appendixes that reproduce Dante's key sources and influences. Of the great poets, Dante is one of the most elusive and therefore one of the most difficult to adequately render into English verse. With this major new translation, Anthony Esolen has succeeded brilliantly in marrying sense with sound, poetry with meaning, capturing both the poem's line-by-line vigor and its allegorically and philosophically exacting structure, yielding an Inferno that will be as popular with general readers as with scholars, teachers, and students. For, as Dante insists, without a trace of sentimentality or intellectual compromise, even Hell is a work of divine art.
Esolen's edition also provides a critical ntroduction and endnotes, with appendices containing Dante's most important sources鈥攆rom Virgil to Saint Thomas Aquinas and beyond 鈥攖hat deftly illuminate the religious universe the poet inhabited.
Verse Translation by Anthony Esolen
Illustrations by Gustave Dor茅
A groundbreaking bilingual edition of Dante's masterpiece that includes a substantive Introduction, extensive notes, and appendixes that reproduce Dante's key sources and influences. Of the great poets, Dante is one of the most elusive and therefore one of the most difficult to adequately render into English verse. With this major new translation, Anthony Esolen has succeeded brilliantly in marrying sense with sound, poetry with meaning, capturing both the poem's line-by-line vigor and its allegorically and philosophically exacting structure, yielding an Inferno that will be as popular with general readers as with scholars, teachers, and students. For, as Dante insists, without a trace of sentimentality or intellectual compromise, even Hell is a work of divine art.
Esolen's edition also provides a critical ntroduction and endnotes, with appendices containing Dante's most important sources鈥攆rom Virgil to Saint Thomas Aquinas and beyond 鈥攖hat deftly illuminate the religious universe the poet inhabited.
Verse Translation by Anthony Esolen
Illustrations by Gustave Dor茅
490 pages, Kindle Edition
First published January 1, 1320
15.9k people are currently reading
278k people want to read
About the author
Dante Alighieri
3,696听books5,893听followersDante Alighieri, or simply Dante (May 14/June 13 1265 鈥� September 13/14, 1321), is one of the greatest poets in the Italian language; with the comic story-teller, Boccaccio, and the poet, Petrarch, he forms the classic trio of Italian authors. Dante Alighieri was born in the city-state Florence in 1265. He first saw the woman, or rather the child, who was to become the poetic love of his life when he was almost nine years old and she was some months younger. In fact, Beatrice married another man, Simone di' Bardi, and died when Dante was 25, so their relationship existed almost entirely in Dante's imagination, but she nonetheless plays an extremely important role in his poetry. Dante attributed all the heavenly virtues to her soul and imagined, in his masterpiece The Divine Comedy, that she was his guardian angel who alternately berated and encouraged him on his search for salvation.
Politics as well as love deeply influenced Dante's literary and emotional life. Renaissance Florence was a thriving, but not a peaceful city: different opposing factions continually struggled for dominance there. The Guelfs and the Ghibellines were the two major factions, and in fact that division was important in all of Italy and other countries as well. The Pope and the Holy Roman Emperor were political rivals for much of this time period, and in general the Guelfs were in favor of the Pope, while the Ghibellines supported Imperial power. By 1289 in the battle of Campaldino the Ghibellines largely disappeared from Florence. Peace, however, did not insue. Instead, the Guelf party divided between the Whites and the Blacks (Dante was a White Guelf). The Whites were more opposed to Papal power than the Blacks, and tended to favor the emperor, so in fact the preoccupations of the White Guelfs were much like those of the defeated Ghibellines. In this divisive atmosphere Dante rose to a position of leadership. in 1302, while he was in Rome on a diplomatic mission to the Pope, the Blacks in Florence seized power with the help of the French (and pro-Pope) Charles of Valois. The Blacks exiled Dante, confiscating his goods and condemning him to be burned if he should return to Florence.
Dante never returned to Florence. He wandered from city to city, depending on noble patrons there. Between 1302 and 1304 some attempts were made by the exiled Whites to retrieve their position in Florence, but none of these succeeded and Dante contented himself with hoping for the appearance of a new powerful Holy Roman Emperor who would unite the country and banish strife. Henry VII was elected Emperor in 1308, and indeed laid seige to Florence in 1312, but was defeated, and he died a year later, destroying Dante's hopes. Dante passed from court to court, writing passionate political and moral epistles and finishing his Divine Comedy, which contains the Inferno, Purgatorio, and Paradiso. He finally died in Ravenna in 1321.
Politics as well as love deeply influenced Dante's literary and emotional life. Renaissance Florence was a thriving, but not a peaceful city: different opposing factions continually struggled for dominance there. The Guelfs and the Ghibellines were the two major factions, and in fact that division was important in all of Italy and other countries as well. The Pope and the Holy Roman Emperor were political rivals for much of this time period, and in general the Guelfs were in favor of the Pope, while the Ghibellines supported Imperial power. By 1289 in the battle of Campaldino the Ghibellines largely disappeared from Florence. Peace, however, did not insue. Instead, the Guelf party divided between the Whites and the Blacks (Dante was a White Guelf). The Whites were more opposed to Papal power than the Blacks, and tended to favor the emperor, so in fact the preoccupations of the White Guelfs were much like those of the defeated Ghibellines. In this divisive atmosphere Dante rose to a position of leadership. in 1302, while he was in Rome on a diplomatic mission to the Pope, the Blacks in Florence seized power with the help of the French (and pro-Pope) Charles of Valois. The Blacks exiled Dante, confiscating his goods and condemning him to be burned if he should return to Florence.
Dante never returned to Florence. He wandered from city to city, depending on noble patrons there. Between 1302 and 1304 some attempts were made by the exiled Whites to retrieve their position in Florence, but none of these succeeded and Dante contented himself with hoping for the appearance of a new powerful Holy Roman Emperor who would unite the country and banish strife. Henry VII was elected Emperor in 1308, and indeed laid seige to Florence in 1312, but was defeated, and he died a year later, destroying Dante's hopes. Dante passed from court to court, writing passionate political and moral epistles and finishing his Divine Comedy, which contains the Inferno, Purgatorio, and Paradiso. He finally died in Ravenna in 1321.
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Displaying 1 - 30 of 9,027 reviews
March 9, 2024
whoa this book is wild.
in place of a review of this whole book, i'm just going to write about this single line in Inferno that i full on cannot stop thinking about. warning: this is completely nasty. blame Dante. also: all credit goes out to my literary foundations professor. i'm essentially regurgitating his argument.
in Canto XXXIII, the pilgrim encounters Count Ugolino. Ugolino, a former governor of Pisa, is feasting on the neck of Archbishop Ruggieri. in life, Ruggieri betrayed him, leading to his imprisonment. Ugolino was trapped in a tower along with his four sons. as days passed and Ugolino and his sons began to hunger, Ugolino bit into his own hands. his children bade him to eat them before he'd eat himself: "Father, it would be far less painful for us if you ate of us; for you clothed us in this sad flesh it is for you to strip it off."
on the fourth day of imprisonment, the first of his sons died. the remaining three died over the next two days. Ugolino concludes: "Then hunger proved more powerful than grief."
CAN. YOU. BELIEVE. THAT. DOUBLE. MEANING.
either this guy should have died of his grief, but rather died of starvation, or - you know what's coming - homeboy ate his sons.
I MEAN.
that's impressive stuff, but it's not even over!!
Dante is often called a "theological poet." however, theology and poetry are opposed when it comes to the trajectory of Inferno. if it's a theological work, then we should feel less compassion for the people we encounter as we progress, because Dante is descending in hell and meeting more and more sinful people. but if it's a tragedy (or poetic), then we should feel more compassion, because the peak of pity has to occur toward the end of the work for the sake of catharsis. so which side of Dante is the dominant side when it comes to Inferno? it's been the subject of scholarly argument for centuries.
the really impressive, unbelievable, can't-stop-thinking-about-it thing: this entire argument comes down to this single line - Canto XXXIII, line 75: "Then hunger proved more powerful than grief."
because either Ugolino is a story of immense tragedy, a story of near-faultless suffering, and we should pity him immesnely - or he's committed the horrifying, grotesque sin of eating the bodies of his children when cannibalism would not aid his long-term survival, and we should be largely unable to pity him! and it's completely ambiguous. we'll never know.
Dante, you madman.
bottom line: !!!!!!!!!!!!!
in place of a review of this whole book, i'm just going to write about this single line in Inferno that i full on cannot stop thinking about. warning: this is completely nasty. blame Dante. also: all credit goes out to my literary foundations professor. i'm essentially regurgitating his argument.
in Canto XXXIII, the pilgrim encounters Count Ugolino. Ugolino, a former governor of Pisa, is feasting on the neck of Archbishop Ruggieri. in life, Ruggieri betrayed him, leading to his imprisonment. Ugolino was trapped in a tower along with his four sons. as days passed and Ugolino and his sons began to hunger, Ugolino bit into his own hands. his children bade him to eat them before he'd eat himself: "Father, it would be far less painful for us if you ate of us; for you clothed us in this sad flesh it is for you to strip it off."
on the fourth day of imprisonment, the first of his sons died. the remaining three died over the next two days. Ugolino concludes: "Then hunger proved more powerful than grief."
CAN. YOU. BELIEVE. THAT. DOUBLE. MEANING.
either this guy should have died of his grief, but rather died of starvation, or - you know what's coming - homeboy ate his sons.
I MEAN.
that's impressive stuff, but it's not even over!!
Dante is often called a "theological poet." however, theology and poetry are opposed when it comes to the trajectory of Inferno. if it's a theological work, then we should feel less compassion for the people we encounter as we progress, because Dante is descending in hell and meeting more and more sinful people. but if it's a tragedy (or poetic), then we should feel more compassion, because the peak of pity has to occur toward the end of the work for the sake of catharsis. so which side of Dante is the dominant side when it comes to Inferno? it's been the subject of scholarly argument for centuries.
the really impressive, unbelievable, can't-stop-thinking-about-it thing: this entire argument comes down to this single line - Canto XXXIII, line 75: "Then hunger proved more powerful than grief."
because either Ugolino is a story of immense tragedy, a story of near-faultless suffering, and we should pity him immesnely - or he's committed the horrifying, grotesque sin of eating the bodies of his children when cannibalism would not aid his long-term survival, and we should be largely unable to pity him! and it's completely ambiguous. we'll never know.
Dante, you madman.
bottom line: !!!!!!!!!!!!!
July 3, 2023
顿补苍迟别鈥檚 Inferno - the first book I was assigned to read in my high school World Literature class. Back then I couldn鈥檛 get over how much the emotion of fear set the tone as I read each page. I recently revisited this classic. Rather than a more conventional review 鈥� after all, there really is nothing I can add as a way of critical commentary 鈥�- as a tribute to the great poet, I would like to share the below microfiction I wrote a number of years ago:
JOYRIDE
One balmy July evening at a seaside amusement park, Hector and his date strolled past the merry-go-round, toddlers鈥� swings and tooting fire engine out to the more hair-raising rides. At the very end of the pier, beyond the Wild Mouse and giant Ferris wheel, there was a new roller coaster that looked pretty frightening. Not only did the tracks have steep climbs and amazing plunges but there was an opening in the boardwalk where the roller coaster took its passengers under the pier.
"Look,鈥� Hector said, pointing to the hole in the boardwalk, 鈥淚鈥檝e never seen a roller coaster whose tracks go beneath the surface.鈥�
鈥淥h!鈥� his date squealed, eager for as much of a thrill as the amusements had to offer, 鈥渢hat must really be scary. Let鈥檚 go.鈥�
They took their place in line behind the last thrill-seeker and watched as the roller coaster ascended, hurled down and sped around hairpin turns, finally climbing the highest hump of track and descending to where the track ran beneath the pier. Hector looked over at the spot in the boardwalk from which the train would eventually reemerge. He waited and waited. This was taking much more time than he though.
Hector鈥檚 girlfriend squeezed his hand. 鈥淲ow! I bet they鈥檙e really getting spooked down there.鈥�
Hector heard shrieks coming from some place underneath their feet 鈥� shrieks not of delight or pleasure but shrieks to make your blood run cold.
鈥淥h, I can鈥檛 wait!鈥� his date said, tugging at his shirtsleeve.
Hector crouched down to hear the shrieks and howls more clearly. Waves of heat rising from the spaces between the wooden boards of the boardwalk scorched his face. After several uneasy moments he stood back up and watched as the roller coaster finally rolled through the cavernous opening in the boardwalk and stopped near the line.
All of the passengers鈥� faces were ashen and a middle-aged woman in the front seat was weeping on her husband鈥檚 shoulder.
鈥淭his must really be something,鈥� Hector鈥檚 date said.
One terrified passenger unbuckled herself and climbed out. She walked past, eyes downcast, and Hector could both see and smell her hair was singed.
And if this wasn鈥檛 enough, the cheerless bearded man running the ride collected everyone鈥檚 tickets and pronounced lots would be drawn to determine who would have to ride in the first car. Hector鈥檚 date called out that if nobody else wanted, she would gladly volunteer for the front seat.
When the old man nodded, she pulled Hector by the hand to the front of the roller coaster and strapped him in next to her. Hector noticed for the first time the name of this ride 鈥� spelled out in red iridescent letters over their heads was 鈥淒ANTE鈥橲 INFERNO.鈥�
Hector slunk down in his seat next to his girlfriend who was now giggling and playfully poking him in the ribs. As the roller coaster began moving, Hector tried to console himself with the grim fact that everyone on the preceding ride did at least come back alive.
August 8, 2021
Inferno (La Divina Commedia #1) = The Divine Comedy of Dante Alighieri: Volume 1: Inferno, Dante Alighieri
The Divine Comedy is a long narrative poem by Dante Alighieri, begun c. 1308 and completed in 1320, a year before his death, in 1321.
It is widely considered the preeminent work in Italian literature, and is seen as one of the greatest works of world literature.
The poem's imaginative vision of the afterlife is representative of the medieval world-view as it had developed in the Western Church, by the 14th century.
It helped establish the Tuscan language, in which it is written, as the standardized Italian language. It is divided into three parts: Inferno, Purgatorio, and Paradiso.
Halfway through the story of my life
I woke to find myself in a dark wood
Gone from the path direct
For I had wandered off from the straight path
For I had strayed from the straight path
For I had lost the path that does not stray
Midway in our life鈥檚 journey
The straightforward pathway had been lost
鬲丕乇蹖禺 禺賵丕賳卮: 丿乇 爻丕賱 1968賲蹖賱丕丿蹖
毓賳賵丕賳: 丿賵夭禺 - 丿丕賳鬲賴 丌賱蹖诏蹖乇蹖 - 讴賲丿蹖 丕賱賴蹖貨 賳賵蹖爻賳賴丿: 丿丕賳鬲賴 丌賱蹖诏蹖乇蹖貨 賲鬲乇噩賲: 卮噩丕毓 丕賱丿蹖賳 卮賮丕貨 鬲賴乇丕賳貙 丕賲蹖乇讴亘蹖乇貨 1335貨 丿乇 爻賴 噩賱丿: 噩賱丿 賳禺爻鬲: 丿賵夭禺貨 噩賱丿 丿賵賲 : 亘乇夭禺貨 噩賱丿 爻賵賲: 亘賴卮鬲貨 趩丕倬 亘蹖爻鬲 賵 蹖讴賲 1393貨 賲賵囟賵毓: 卮毓乇 卮丕毓乇丕賳 丕蹖鬲丕賱蹖丕 - 爻丿賴 蹖 14賲
賳賯賱 丕夭 賲鬲賳: (丿乇 賳蹖賲賴 乇丕賴 夭賳丿诏丕賳蹖貙 禺賵蹖卮鬲賳 乇丕貙 丿乇 噩賳诏賱蹖 鬲丕乇蹖讴 蹖丕賮鬲賲貙 夭蹖乇丕 乇丕賴 乇丕爻鬲 乇丕 诏賲 讴乇丿賴 亘賵丿賲貙 賵 趩賴 丿卮賵丕乇 丕爻鬲貙 賵氐賮 丕蹖賳 噩賳诏賱 賵丨卮蹖 賵 爻禺鬲 丕賳亘賵賴貙 讴賴 蹖丕丿卮 鬲乇爻 乇丕貙 丿乇 丿賱 亘蹖丿丕乇 賲蹖讴賳丿. 趩賳丕賳 鬲賱禺 丕爻鬲貙 讴賴 賲乇诏貙 噩夭 丕賳丿讴蹖 丕夭 丌賳 鬲賱禺鬲乇 賳蹖爻鬲貙 丕賲丕 賲賳貙 亘乇丕蹖 賵氐賮 氐賮丕蹖蹖 讴賴 丿乇 丕蹖賳 噩賳诏賱 蹖丕賮鬲賲貙 丕夭 丿诏乇 趩蹖夭賴丕蹖蹖 讴賴 丿乇 丌賳 噩爻鬲賲貙 爻禺賳 禺賵丕賴賲 诏賮鬲. 丿乇爻鬲 賳賲蹖鬲賵丕賳賲 诏賮鬲貙 讴賴 趩诏賵賳賴 倬丕蹖 亘丿丕賳 賳賴丕丿賲貙 夭蹖乇丕 賴賳诏丕賲蹖 讴賴 卮丕賴乇丕賴 乇丕 鬲乇讴 诏賮鬲賲貙 爻禺鬲 禺賵丕亘 丌賱賵丿賴 亘賵丿賲.) 倬丕蹖丕賳 賳賯賱 丕夭 賯爻賲鬲蹖 丕夭 爻乇賵丿 丕賵賱 丿賵夭禺
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 11/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 16/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Divine Comedy is a long narrative poem by Dante Alighieri, begun c. 1308 and completed in 1320, a year before his death, in 1321.
It is widely considered the preeminent work in Italian literature, and is seen as one of the greatest works of world literature.
The poem's imaginative vision of the afterlife is representative of the medieval world-view as it had developed in the Western Church, by the 14th century.
It helped establish the Tuscan language, in which it is written, as the standardized Italian language. It is divided into three parts: Inferno, Purgatorio, and Paradiso.
Halfway through the story of my life
I woke to find myself in a dark wood
Gone from the path direct
For I had wandered off from the straight path
For I had strayed from the straight path
For I had lost the path that does not stray
Midway in our life鈥檚 journey
The straightforward pathway had been lost
鬲丕乇蹖禺 禺賵丕賳卮: 丿乇 爻丕賱 1968賲蹖賱丕丿蹖
毓賳賵丕賳: 丿賵夭禺 - 丿丕賳鬲賴 丌賱蹖诏蹖乇蹖 - 讴賲丿蹖 丕賱賴蹖貨 賳賵蹖爻賳賴丿: 丿丕賳鬲賴 丌賱蹖诏蹖乇蹖貨 賲鬲乇噩賲: 卮噩丕毓 丕賱丿蹖賳 卮賮丕貨 鬲賴乇丕賳貙 丕賲蹖乇讴亘蹖乇貨 1335貨 丿乇 爻賴 噩賱丿: 噩賱丿 賳禺爻鬲: 丿賵夭禺貨 噩賱丿 丿賵賲 : 亘乇夭禺貨 噩賱丿 爻賵賲: 亘賴卮鬲貨 趩丕倬 亘蹖爻鬲 賵 蹖讴賲 1393貨 賲賵囟賵毓: 卮毓乇 卮丕毓乇丕賳 丕蹖鬲丕賱蹖丕 - 爻丿賴 蹖 14賲
賳賯賱 丕夭 賲鬲賳: (丿乇 賳蹖賲賴 乇丕賴 夭賳丿诏丕賳蹖貙 禺賵蹖卮鬲賳 乇丕貙 丿乇 噩賳诏賱蹖 鬲丕乇蹖讴 蹖丕賮鬲賲貙 夭蹖乇丕 乇丕賴 乇丕爻鬲 乇丕 诏賲 讴乇丿賴 亘賵丿賲貙 賵 趩賴 丿卮賵丕乇 丕爻鬲貙 賵氐賮 丕蹖賳 噩賳诏賱 賵丨卮蹖 賵 爻禺鬲 丕賳亘賵賴貙 讴賴 蹖丕丿卮 鬲乇爻 乇丕貙 丿乇 丿賱 亘蹖丿丕乇 賲蹖讴賳丿. 趩賳丕賳 鬲賱禺 丕爻鬲貙 讴賴 賲乇诏貙 噩夭 丕賳丿讴蹖 丕夭 丌賳 鬲賱禺鬲乇 賳蹖爻鬲貙 丕賲丕 賲賳貙 亘乇丕蹖 賵氐賮 氐賮丕蹖蹖 讴賴 丿乇 丕蹖賳 噩賳诏賱 蹖丕賮鬲賲貙 丕夭 丿诏乇 趩蹖夭賴丕蹖蹖 讴賴 丿乇 丌賳 噩爻鬲賲貙 爻禺賳 禺賵丕賴賲 诏賮鬲. 丿乇爻鬲 賳賲蹖鬲賵丕賳賲 诏賮鬲貙 讴賴 趩诏賵賳賴 倬丕蹖 亘丿丕賳 賳賴丕丿賲貙 夭蹖乇丕 賴賳诏丕賲蹖 讴賴 卮丕賴乇丕賴 乇丕 鬲乇讴 诏賮鬲賲貙 爻禺鬲 禺賵丕亘 丌賱賵丿賴 亘賵丿賲.) 倬丕蹖丕賳 賳賯賱 丕夭 賯爻賲鬲蹖 丕夭 爻乇賵丿 丕賵賱 丿賵夭禺
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 11/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 16/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
November 30, 2022
鈥淒o not be afraid; our fate cannot be taken from us; it is a gift.鈥�
鈥淭here is no greater sorrow than to recall our times of joy in wretchedness.鈥�
鈥淲isdom is earned, not given.鈥�
鈥淥ne ought to be afraid of nothing other than things possessed of power to do us harm, but things innocuous need not be feared.鈥�
A must-read in this journey of life! The best read of the year so far :)
鈥淭here is no greater sorrow than to recall our times of joy in wretchedness.鈥�
鈥淲isdom is earned, not given.鈥�
鈥淥ne ought to be afraid of nothing other than things possessed of power to do us harm, but things innocuous need not be feared.鈥�
A must-read in this journey of life! The best read of the year so far :)
April 28, 2011
THIS BOOK IS ABOUT HOW HELL IS GONNA SUUUUUUUUUUUUUCK
December 14, 2022
Another book in verse that I read and it did not make me scream as in the pains of hell. Pun intended.
The divine Comedy is a post-classical epic poem, apparently. It is an epic because it is long (such as the Iliad and Aeneid), it talks about heroic deeds, it is an allegory and it does have history elements, of Florence to be precise. What makes this poem different from others is that the narrator is inside the story instead of omniscient, as in other epics. Moreover, elements of Christianity are introduced in the mix.
The Divine Comedy is structured in three parts ( Hell, Purgatory and Heaven) which is expected if I think about the Holy Trinity and the meaning of number 3 in Christianity. I only read Inferno so I will only discuss that part. Our hero finds himself in a forest which apparently is the symbol of a life of sin. He tries to climb a mountain but it is attacked by wild beasts. The poet Virgilius, who else, comes to his aid and convinces the narrator to follow him on journey through Hell and beyond in order to find salvation. Dante's Hell has 9 levels, representing 9 sins. I might not have chosen the same order, for example the sins of violence are less important than fraud but I took them as they came.
I listened to Robert Pinsky's translation, a modernised version, which I think made the poem bearable for me. After failing to read The Iliad, I believe it is very important to find a decent translation, one that makes the text more accessible to a novices to this genre, like me.
The divine Comedy is a post-classical epic poem, apparently. It is an epic because it is long (such as the Iliad and Aeneid), it talks about heroic deeds, it is an allegory and it does have history elements, of Florence to be precise. What makes this poem different from others is that the narrator is inside the story instead of omniscient, as in other epics. Moreover, elements of Christianity are introduced in the mix.
The Divine Comedy is structured in three parts ( Hell, Purgatory and Heaven) which is expected if I think about the Holy Trinity and the meaning of number 3 in Christianity. I only read Inferno so I will only discuss that part. Our hero finds himself in a forest which apparently is the symbol of a life of sin. He tries to climb a mountain but it is attacked by wild beasts. The poet Virgilius, who else, comes to his aid and convinces the narrator to follow him on journey through Hell and beyond in order to find salvation. Dante's Hell has 9 levels, representing 9 sins. I might not have chosen the same order, for example the sins of violence are less important than fraud but I took them as they came.
I listened to Robert Pinsky's translation, a modernised version, which I think made the poem bearable for me. After failing to read The Iliad, I believe it is very important to find a decent translation, one that makes the text more accessible to a novices to this genre, like me.
November 10, 2020
I did not expect 顿补苍迟别鈥檚 Inferno to be easy, but it was not as hard as I expected it to be.
In order to make sure that I gave it my all, over the course of about 40 days I listened to it twice, had a physical copy that I skimmed and referenced, looked at online study guides, and discussed with some of my 欧宝娱乐 friends. While I still feel there is more here to be learned and grasped due to all the symbolism and word craft used by Dante, I feel like I at least got a good feel for it in my Divine Comedy rookie status.
During my time with it, I probably looked at three or four different translations. Some of them seemed to be a bit more termed for the layman, but with others you could better see the poetry of Dante. I suppose to really get a feel for how Dante intended it I would need learn Italian (Tuscan Italian to be specific 鈥� according to Wikipedia). If you decide to give it a go, I think it may be best to not just settle on one translation but be flexible and try out a few to see which one gives you the best experience.
As I mentioned in my introductory sentence, it was not as hard as I expected it to be. I thought going in that I would be totally confused, and it would be hard to stay focused. But the narrative was enjoyable and not to hard to follow. It was the poetry and the symbolism that makes this one a bit more complex. So many different elements of mythology, literary history, religion, and world history are referenced that it kept my brain on its toes. I mentioned that this felt like an introductory experience because I could probably go back and spend hours on each Canto researching all the things referenced.
While it was a bit of a labor, I am pleased with my overall experience with Inferno and I will likely give the rest of the Divine Comedy a look sometime in the future.
In order to make sure that I gave it my all, over the course of about 40 days I listened to it twice, had a physical copy that I skimmed and referenced, looked at online study guides, and discussed with some of my 欧宝娱乐 friends. While I still feel there is more here to be learned and grasped due to all the symbolism and word craft used by Dante, I feel like I at least got a good feel for it in my Divine Comedy rookie status.
During my time with it, I probably looked at three or four different translations. Some of them seemed to be a bit more termed for the layman, but with others you could better see the poetry of Dante. I suppose to really get a feel for how Dante intended it I would need learn Italian (Tuscan Italian to be specific 鈥� according to Wikipedia). If you decide to give it a go, I think it may be best to not just settle on one translation but be flexible and try out a few to see which one gives you the best experience.
As I mentioned in my introductory sentence, it was not as hard as I expected it to be. I thought going in that I would be totally confused, and it would be hard to stay focused. But the narrative was enjoyable and not to hard to follow. It was the poetry and the symbolism that makes this one a bit more complex. So many different elements of mythology, literary history, religion, and world history are referenced that it kept my brain on its toes. I mentioned that this felt like an introductory experience because I could probably go back and spend hours on each Canto researching all the things referenced.
While it was a bit of a labor, I am pleased with my overall experience with Inferno and I will likely give the rest of the Divine Comedy a look sometime in the future.
May 28, 2022
Not gonna lie, reading this poem felt, at times, like being punished in one of the lower Circles of Hell.
Dante's Commedia is among those classics that I desperately want to *have read* but never actually *read*. Add War and Peace, Don Quixote and Paradise Lost to that list of shame and procrastination. But sometimes, in rare moments, I feel like sucking it up, putting on my big girl pants, and facing the giant. Sometimes it goes right (see my stellar review for Moby Dick) and sometimes it goes terribly wrong (let's not talk about the clusterfuck that was Jane Eyre). Well, Inferno, surprisingly, fell somewhere in between.
In September, I found a beautiful bind-up of the Commedia for an affordable price and decided to finally buy it. I planned on reading the entirety of the book in 2020 but after taking over two months to plough through Inferno, I knew that that wasn't going to happen. I needed to take my time.
Inferno basically describes Dante's journey through Hell, as he is guided by the ancient Roman poet Virgil (himself an inhabitant of Hell). It is followed up by Purgatorio and Paradiso. Ultimately, the story can be seen as an allegory that represents the journey of the soul toward God.
Now, I'm not religious at all and I'm also not interested in learning more about religions, whether that's Christianity or any other religion. I have nothing against people with firm beliefs but religious institutions have always rubbed me the wrong way. Nonetheless, I was able to engage with Inferno very openly. For me, it almost read like an absurd fantasy novel with great world building.
My favorite part about Inferno was discovering how (!) Dante decided to structure his version of Hell. In the poem, Hell is depicted as nine concentric circles of torment located within the Earth. Toward the end of the poem, we learn that when Lucifer fell from Heaven, he fell directly into the center of the Earth (striking the Earth at the point which was later to be named Jerusalem), thereby making a huge hole through his impact that then became the physical space of Hell. The extra Earth mass shot upward (as it was repellent to Lucifer's form) and formed Mount Purgatorio, on the summit of which is the Garden of Eden.
For me, it was very interesting to see which sins were punished in Hell and how. When reading through Inferno, one cannot shake the feeling that the punishments are supposed to counter/ match the original sins. Apparently, there's a word for that: contrapasso, which means "suffer the opposite". By Dante's design, the punishment of the souls in Hell are supposed to resemble or contrast the sin itself. One of the more obvious examples of contrapasso occurs in the fourth Bolgia of the eighth circle of Hell, where the sorcerers, astrologers, and false prophets have their heads turned back on their bodies such that it is "necessary to walk backward because they could not see ahead of them."
I found that very clever because by use of contrapasso, Dante managed to make each circle of Hell unique and interesting, instead of having all of his souls being punished in the flames (I mean how boring would that have been?). Therefore, just as Dante, the reader is able to discover each corner of Hell anew.
Sin in Inferno is seen less as an offence against God than as a crime against humanity, in which the clarity of rational perception is fatally clouded or perverted. Therefore, the "worst" of sins, according to Dante's plan of Hell, is not lust or greed or avarice but rather treachery, which is punished at the very centre of Hell where Satan resides.
In Inferno, Satan is portrayed as a giant demon, frozen mid-breast in ice at the center of Hell. Satan has three faces and a pair of bat-like wings affixed under each chin. In his three mouths, he chews on Judas Iscariot, Marcus Brutus, and Gaius Cassius. Here again, we see contrapasso at work, as all three sinners are unable to move or speak, since their actions and words while they were own Earth were false, treacherous and full of lies. On top of that, the icy lake symbolises how they rejected God as well as their masters, so that they're now exempt from warmth (= God's light) forever.
There are two reasons why Inferno, ultimately, was incredibly hard for me to get through and not an enjoyable read at all: first of all, I hated the translation that I was reading. In the foreword, it is stated that Dante is also impossible to translate and that translators (no matter of what language) are forced to make some very tough decisions. My translation (= I read this book in the Penguin Deluxe Classics edition, translated by Robin Kirkpatrick), as opposed to the Italian original, does not rely upon end rhyme ... which is a damn shame in hindsight because a lot of the poetic and lyrical nature of the poem was lost in that way. On top of that, certain choices for words seemed oddly out of place and overly modern, so that my reading flow was often unnecessarily interrupted. I really don't wanna sound dramatic but sometimes this translation was truly unreadable. The language was so ugly and ordinary, and on top of that, it was still often hard to understand what was going on. Therefore, I had to constantly check in with secondary sources in order to not lose track of the story.
Second of all, since I'm not knowledgeable on the religious and political figures that Dante chose to write about, a lot of the social commentary went right over my head. It wasn't shocking or juicy seeing Vanni Fucci, Branca D'Oria or Pietro della Vigna suffer in Hell. Why? Because I didn't know these people. I had no idea who they were and what they had done in their lives to warrant such treatment. Of course, at times, it was easy to grasp the shock value Dante's Inferno must have had on contemporary readers when he placed certain well-known high-ranking political (e.g. Cleopatra, Alexander the Great, Attila or Brutus) or religious figures (e.g. certain Popes and bishops) in Hell. Nonetheless, it would be a lie to say I was entertained by that. I simply didn't care.
And so all in all, I'm still glad that I finally read through Inferno because it is a work that has been referenced in literature throughout the centuries and on top of that, I really appreciate the effort Dante put into his architecture of Hell. It's truly a terrific place. Before jumping into Purgatorio, I'll definitely make sure to check out some illustrations inspired by Dante's iconic poem, because I can only imagine how much fun it must've been to transform his words into art.
Dante's Commedia is among those classics that I desperately want to *have read* but never actually *read*. Add War and Peace, Don Quixote and Paradise Lost to that list of shame and procrastination. But sometimes, in rare moments, I feel like sucking it up, putting on my big girl pants, and facing the giant. Sometimes it goes right (see my stellar review for Moby Dick) and sometimes it goes terribly wrong (let's not talk about the clusterfuck that was Jane Eyre). Well, Inferno, surprisingly, fell somewhere in between.
In September, I found a beautiful bind-up of the Commedia for an affordable price and decided to finally buy it. I planned on reading the entirety of the book in 2020 but after taking over two months to plough through Inferno, I knew that that wasn't going to happen. I needed to take my time.
Inferno basically describes Dante's journey through Hell, as he is guided by the ancient Roman poet Virgil (himself an inhabitant of Hell). It is followed up by Purgatorio and Paradiso. Ultimately, the story can be seen as an allegory that represents the journey of the soul toward God.
Now, I'm not religious at all and I'm also not interested in learning more about religions, whether that's Christianity or any other religion. I have nothing against people with firm beliefs but religious institutions have always rubbed me the wrong way. Nonetheless, I was able to engage with Inferno very openly. For me, it almost read like an absurd fantasy novel with great world building.
My favorite part about Inferno was discovering how (!) Dante decided to structure his version of Hell. In the poem, Hell is depicted as nine concentric circles of torment located within the Earth. Toward the end of the poem, we learn that when Lucifer fell from Heaven, he fell directly into the center of the Earth (striking the Earth at the point which was later to be named Jerusalem), thereby making a huge hole through his impact that then became the physical space of Hell. The extra Earth mass shot upward (as it was repellent to Lucifer's form) and formed Mount Purgatorio, on the summit of which is the Garden of Eden.
For me, it was very interesting to see which sins were punished in Hell and how. When reading through Inferno, one cannot shake the feeling that the punishments are supposed to counter/ match the original sins. Apparently, there's a word for that: contrapasso, which means "suffer the opposite". By Dante's design, the punishment of the souls in Hell are supposed to resemble or contrast the sin itself. One of the more obvious examples of contrapasso occurs in the fourth Bolgia of the eighth circle of Hell, where the sorcerers, astrologers, and false prophets have their heads turned back on their bodies such that it is "necessary to walk backward because they could not see ahead of them."
I found that very clever because by use of contrapasso, Dante managed to make each circle of Hell unique and interesting, instead of having all of his souls being punished in the flames (I mean how boring would that have been?). Therefore, just as Dante, the reader is able to discover each corner of Hell anew.
Sin in Inferno is seen less as an offence against God than as a crime against humanity, in which the clarity of rational perception is fatally clouded or perverted. Therefore, the "worst" of sins, according to Dante's plan of Hell, is not lust or greed or avarice but rather treachery, which is punished at the very centre of Hell where Satan resides.
In Inferno, Satan is portrayed as a giant demon, frozen mid-breast in ice at the center of Hell. Satan has three faces and a pair of bat-like wings affixed under each chin. In his three mouths, he chews on Judas Iscariot, Marcus Brutus, and Gaius Cassius. Here again, we see contrapasso at work, as all three sinners are unable to move or speak, since their actions and words while they were own Earth were false, treacherous and full of lies. On top of that, the icy lake symbolises how they rejected God as well as their masters, so that they're now exempt from warmth (= God's light) forever.
There are two reasons why Inferno, ultimately, was incredibly hard for me to get through and not an enjoyable read at all: first of all, I hated the translation that I was reading. In the foreword, it is stated that Dante is also impossible to translate and that translators (no matter of what language) are forced to make some very tough decisions. My translation (= I read this book in the Penguin Deluxe Classics edition, translated by Robin Kirkpatrick), as opposed to the Italian original, does not rely upon end rhyme ... which is a damn shame in hindsight because a lot of the poetic and lyrical nature of the poem was lost in that way. On top of that, certain choices for words seemed oddly out of place and overly modern, so that my reading flow was often unnecessarily interrupted. I really don't wanna sound dramatic but sometimes this translation was truly unreadable. The language was so ugly and ordinary, and on top of that, it was still often hard to understand what was going on. Therefore, I had to constantly check in with secondary sources in order to not lose track of the story.
Second of all, since I'm not knowledgeable on the religious and political figures that Dante chose to write about, a lot of the social commentary went right over my head. It wasn't shocking or juicy seeing Vanni Fucci, Branca D'Oria or Pietro della Vigna suffer in Hell. Why? Because I didn't know these people. I had no idea who they were and what they had done in their lives to warrant such treatment. Of course, at times, it was easy to grasp the shock value Dante's Inferno must have had on contemporary readers when he placed certain well-known high-ranking political (e.g. Cleopatra, Alexander the Great, Attila or Brutus) or religious figures (e.g. certain Popes and bishops) in Hell. Nonetheless, it would be a lie to say I was entertained by that. I simply didn't care.
And so all in all, I'm still glad that I finally read through Inferno because it is a work that has been referenced in literature throughout the centuries and on top of that, I really appreciate the effort Dante put into his architecture of Hell. It's truly a terrific place. Before jumping into Purgatorio, I'll definitely make sure to check out some illustrations inspired by Dante's iconic poem, because I can only imagine how much fun it must've been to transform his words into art.
Want to read
June 13, 2017Since it's Good Friday, and thus exactly 717 years since Dante's pilgrim descended into the underworld, I thought it would be an auspicious moment to tell people about the project I've been pursuing together with Dr Sabina Sestigiani, an Italian lecturer at Swinburne University in Melbourne. Dante's poem is celebrated as one of the treasures of world literature - but it is not very accessible, being written in archaic Italian. Although there are translations, and even these are wonderful, a translation of a poem can never be more than a shadow of the original. T.S. Eliot famously advised people just to dive in and start reading. It worked for Eliot, and you feel that in principle it must be the right approach. All the same, most readers find it a daunting prospect.
We wondered if there was any way to make the voyage easier. Using the CALL platform we've developed at Geneva University, Sabina and I have been putting together a first version of what a electronic poetry appreciation assistant might look like. If you have a headset and you're on Chrome, Firefox, Safari or Explorer - I'm afraid we don't yet have it available for mobile devices - try going . Log in as 'guest' (no password required) and click 'Allow' on the popup to let the app access your microphone. You should now be on a screen that looks like this:
On the right, there's a scrollable pane with the first 30 lines of the Inferno in slightly modernised Italian orthography. You can hover your mouse over any line to see it in Longfellow's English translation - we chose Longfellow since he's both a great poet in his own right and translates very literally. At the top, there's an embedded audio file where you can hear Sabina reading the text aloud. Italians who've tried out the app have been complimentary about her interpretation.
On the left, we have an area where you can practise reading yourself. You're shown the poem one line at a time. If you press the Help button (question-mark icon), you'll get Longfellow's translation and hear Sabina reading just that line. The intention is that you should listen a few times, then press on the Record button (microphone icon), keep it pressed down while speaking, and release. You should hear your voice echoed back, and the app will let you know if you said it approximately right: you'll get a green border for "okay", red for "try again". You use the arrows to move to the next and previous lines. We currently have six extracts loaded, taken from Canti I (opening), III (the Gates of Hell), V (Paolo and Francesca), X (Farinata), XXVI (Ulisse) and XXXIII (Ugolino). You can find the other extracts by using the Lesson tab on the left.
Speaking just for myself, I've found the app very helpful for developing my appreciation of the beautiful language; I've soon got to the point where I want to learn pieces by heart, and find myself repeating them mentally. We're curious to hear what people think - please let us know! If you want to try creating your own interactive versions of poems, it's straightforward and just involves copying text onto a spreadsheet and recording the audio using an online tool. Message me and I'll send you details.
Happy Easter!
______________________
My multi-talented colleague Irene Strasly (she makes a guest appearance in this review) has used the platform to create . Italians who've heard them say they're quite good.
______________________
. Here is the first one, with a beautiful translation by Peter Robinson:
______________________
Our friend Kirsten has added an interactive English poem - Shakespeare's sonnet CXXXVIII, which I'd never properly noticed before. You can find it .
We wondered if there was any way to make the voyage easier. Using the CALL platform we've developed at Geneva University, Sabina and I have been putting together a first version of what a electronic poetry appreciation assistant might look like. If you have a headset and you're on Chrome, Firefox, Safari or Explorer - I'm afraid we don't yet have it available for mobile devices - try going . Log in as 'guest' (no password required) and click 'Allow' on the popup to let the app access your microphone. You should now be on a screen that looks like this:
On the right, there's a scrollable pane with the first 30 lines of the Inferno in slightly modernised Italian orthography. You can hover your mouse over any line to see it in Longfellow's English translation - we chose Longfellow since he's both a great poet in his own right and translates very literally. At the top, there's an embedded audio file where you can hear Sabina reading the text aloud. Italians who've tried out the app have been complimentary about her interpretation.
On the left, we have an area where you can practise reading yourself. You're shown the poem one line at a time. If you press the Help button (question-mark icon), you'll get Longfellow's translation and hear Sabina reading just that line. The intention is that you should listen a few times, then press on the Record button (microphone icon), keep it pressed down while speaking, and release. You should hear your voice echoed back, and the app will let you know if you said it approximately right: you'll get a green border for "okay", red for "try again". You use the arrows to move to the next and previous lines. We currently have six extracts loaded, taken from Canti I (opening), III (the Gates of Hell), V (Paolo and Francesca), X (Farinata), XXVI (Ulisse) and XXXIII (Ugolino). You can find the other extracts by using the Lesson tab on the left.
Speaking just for myself, I've found the app very helpful for developing my appreciation of the beautiful language; I've soon got to the point where I want to learn pieces by heart, and find myself repeating them mentally. We're curious to hear what people think - please let us know! If you want to try creating your own interactive versions of poems, it's straightforward and just involves copying text onto a spreadsheet and recording the audio using an online tool. Message me and I'll send you details.
Happy Easter!
______________________
My multi-talented colleague Irene Strasly (she makes a guest appearance in this review) has used the platform to create . Italians who've heard them say they're quite good.
______________________
. Here is the first one, with a beautiful translation by Peter Robinson:
Amore di lontananzaShe wrote it in 1929, when she was only seventeen. Nine years later, she was dead.
Ricordo che, quand'ero nella casa
della mia mamma, in mezzo alla pianura,
avevo una finestra che guardava
sui prati. In fondo, l'argine boscoso
nascondeva il Ticino e, ancor pi霉 in fondo,
c'era una striscia scura di colline.
Io allora non avevo visto il mare
che una sol volta, ma ne conservavo
un'aspra nostalgia da innamorata.
Verso sera fissavo l'orizzonte
socchiudevo un po' gli occhi. Accarezzavo
i contorni e i colori tra le ciglia:
e la striscia dei colli si spianava,
tremula, azzurra: a me pareva il mare
e mi piaceva pi霉 del mare vero.
Love of distance
I remember, when in my mother鈥檚 house,
in the middle of the plain, I had
a window that looked onto
the meadows; far off, the wooded bank
hid the Ticino and, further on,
there was a dark line of hills.
Back then I鈥檇 only seen the sea
one time, but preserved of it
a sharp nostalgia as when in love.
Towards evening I stared at the skyline;
narrowed my eyes a little; caressed
outlines and colours between my lids;
and the line of hills flattened out,
trembling, azure: and seemed the sea to me
and pleased me more than the real sea.
______________________
Our friend Kirsten has added an interactive English poem - Shakespeare's sonnet CXXXVIII, which I'd never properly noticed before. You can find it .
January 15, 2025
The Inferno, part one of Dante's epic poem, The Divine Comedy, is the most imaginative poem that I've read in my life. I'm yet to read Purgatorio and Paradiso, but I doubt if any other poetic work can surpass Dante's Divine Comedy.
The Inferno is where Dante walks through Hell with his guide Virgil, the famous poet who wrote The Aeneid who was sent to him by Beatrice, Dante's devoted love interest, who is in Paradise. His creation of Hell is influenced by Christian theology, philosophy, and former literary works of Virgil, Ovid, Homer, and the like. However, Virgil's Aeneid is said to be the most associated literary text with The Divine Comedy.
Dante's Hell is funnel-shaped and has nine tiers that punish different sins. At the bottom is Lucifer. It is fascinating to see how imaginative and creative Dante has been in inventing the different tiers of hell, the sins which are punished in them, and the punishment types. The punishments which begin lightly in the first tier get gruesome as you go down the tiers. Some of the characters (sinners) in Hell include the real-life people Dante knew (some who were not even dead at the time of Dante's fictitious journey through hell) as well as classical and mythological characters that were drawn from famous, old literary works.
I was awestruck by the graphic account of Hell given in such beautiful lyrical verses. Even the gruesome details of punishment of the sinners were made less horrific because the verses describing them were melodious. The sinners, chosen from those existed and existing people and also from some of the most loved mythical characters, give the poem a sense of reality as well as fantasy.
It is amazing that a work written in the thirteen century can have such a strong impression on modern readers. But given the quality of the work, it is not surprising the reverent popularity The Divine Comedy has acquired and maintained throughout the centuries.
This second time reading was more enjoyable. The graphic description of each circle in Hell did give me the intended eerie dismal feeling. With this reading, I understood the poem better, and that understanding helped me to appreciate full well the power of imagination and creativity in Dante. Inferno is undoubtedly one of the masterpieces in epic poetry.
The Inferno is where Dante walks through Hell with his guide Virgil, the famous poet who wrote The Aeneid who was sent to him by Beatrice, Dante's devoted love interest, who is in Paradise. His creation of Hell is influenced by Christian theology, philosophy, and former literary works of Virgil, Ovid, Homer, and the like. However, Virgil's Aeneid is said to be the most associated literary text with The Divine Comedy.
Dante's Hell is funnel-shaped and has nine tiers that punish different sins. At the bottom is Lucifer. It is fascinating to see how imaginative and creative Dante has been in inventing the different tiers of hell, the sins which are punished in them, and the punishment types. The punishments which begin lightly in the first tier get gruesome as you go down the tiers. Some of the characters (sinners) in Hell include the real-life people Dante knew (some who were not even dead at the time of Dante's fictitious journey through hell) as well as classical and mythological characters that were drawn from famous, old literary works.
I was awestruck by the graphic account of Hell given in such beautiful lyrical verses. Even the gruesome details of punishment of the sinners were made less horrific because the verses describing them were melodious. The sinners, chosen from those existed and existing people and also from some of the most loved mythical characters, give the poem a sense of reality as well as fantasy.
It is amazing that a work written in the thirteen century can have such a strong impression on modern readers. But given the quality of the work, it is not surprising the reverent popularity The Divine Comedy has acquired and maintained throughout the centuries.
This second time reading was more enjoyable. The graphic description of each circle in Hell did give me the intended eerie dismal feeling. With this reading, I understood the poem better, and that understanding helped me to appreciate full well the power of imagination and creativity in Dante. Inferno is undoubtedly one of the masterpieces in epic poetry.
July 13, 2011
The other day, in the comment thread to , Meredith called The Divine Comedy "lame": specifically, she objected to the fact that Dante put all the people he didn't like in Hell. Well, Meredith, you're perfectly welcome to your opinions - but I'm half Italian, and I've been politely informed that if I don't respond in some way I'm likely to wake up some morning and find a horse's head lying next to me. So here goes.
I actually have two separate defenses. First, let's consider Dante's artistic choices, given that he's planned to write a huge epic poem where he's going to visit Hell, Purgatory and Heaven, each of which is divided up into a large number of smaller areas corresponding to differents sins and virtues. Now, who is he going to meet there? One option would be to have allegorical figures directly representing Pride, Wrath, Charity etc. That's what Bunyan did in The Pilgrim's Progress, but most people agree that it's not a very good solution: The Divine Comedy is much more fun than The Pilgrim's Progress. Or he could just make people up, but then he wouldn't have any space for character development, and you'd never be able to keep track of all the invented figures. Lindsay tried that route in , and, even though the book's worth reading, he showed how hard it is to make it work. Every time someone interesting turns up, they always seem to get killed fifteen pages later.
I think the choice Dante made was the best one: to use real people. Of course, it is a bit presumptuous to decide that the ones going to Hell are mostly guys he doesn't like, but nothing else makes sense. If you want damned souls to populate the Hell of the Hypocrites, isn't Caiaphas, the high priest who falsely condemned Jesus, a sensible choice? If you're looking for Traitors to Lords and Benefactors, then don't Brutus and Cassius fit pretty well? And every now and then he meets his friends down there too. His beloved teacher Brunetto Latini is damned for sodomy, which shocks Dante just as much as it does me, but in his world-view it makes perfect sense; homosexuality is plain wrong, that's all there is to it.
Okay, that was my first defense. My second is that it's far too simplistic to say that Dante is self-righteously damning all his enemies and extolling his own virtues. The theme that continually comes back through the first two books is that Pride is the root of all sin, and Dante is very conscious of his own sinful nature. For example, he's way too happy to gloat over the fact that his enemy Filippo Argenti has been condemned to the Hell of the Wrathful, and Virgil gently points out the irony. Then, later, he has to spend the whole of Book 2 climbing up Mount Purgatory, which is hard work. He's got plenty of sins to purge.
To me, the real problem with Dante is that his world is so very different from mine, and I keep having to scramble to the footnotes to get the necessary background; so it's hard to keep the flow of the book, since you're constantly being interrupted. But even so, it's still a remarkable piece of work. We just don't think seriously any more about the nature of Good and Evil, Sin and Redemption. Dante's world thought they were crucially important, and he's one of the few people who's still able to give us a window into that view of life. It's nowhere near as irrelevant as we like to make out.
Don Corleone, will this do? Or do I have to add footnotes as well?
I actually have two separate defenses. First, let's consider Dante's artistic choices, given that he's planned to write a huge epic poem where he's going to visit Hell, Purgatory and Heaven, each of which is divided up into a large number of smaller areas corresponding to differents sins and virtues. Now, who is he going to meet there? One option would be to have allegorical figures directly representing Pride, Wrath, Charity etc. That's what Bunyan did in The Pilgrim's Progress, but most people agree that it's not a very good solution: The Divine Comedy is much more fun than The Pilgrim's Progress. Or he could just make people up, but then he wouldn't have any space for character development, and you'd never be able to keep track of all the invented figures. Lindsay tried that route in , and, even though the book's worth reading, he showed how hard it is to make it work. Every time someone interesting turns up, they always seem to get killed fifteen pages later.
I think the choice Dante made was the best one: to use real people. Of course, it is a bit presumptuous to decide that the ones going to Hell are mostly guys he doesn't like, but nothing else makes sense. If you want damned souls to populate the Hell of the Hypocrites, isn't Caiaphas, the high priest who falsely condemned Jesus, a sensible choice? If you're looking for Traitors to Lords and Benefactors, then don't Brutus and Cassius fit pretty well? And every now and then he meets his friends down there too. His beloved teacher Brunetto Latini is damned for sodomy, which shocks Dante just as much as it does me, but in his world-view it makes perfect sense; homosexuality is plain wrong, that's all there is to it.
Okay, that was my first defense. My second is that it's far too simplistic to say that Dante is self-righteously damning all his enemies and extolling his own virtues. The theme that continually comes back through the first two books is that Pride is the root of all sin, and Dante is very conscious of his own sinful nature. For example, he's way too happy to gloat over the fact that his enemy Filippo Argenti has been condemned to the Hell of the Wrathful, and Virgil gently points out the irony. Then, later, he has to spend the whole of Book 2 climbing up Mount Purgatory, which is hard work. He's got plenty of sins to purge.
To me, the real problem with Dante is that his world is so very different from mine, and I keep having to scramble to the footnotes to get the necessary background; so it's hard to keep the flow of the book, since you're constantly being interrupted. But even so, it's still a remarkable piece of work. We just don't think seriously any more about the nature of Good and Evil, Sin and Redemption. Dante's world thought they were crucially important, and he's one of the few people who's still able to give us a window into that view of life. It's nowhere near as irrelevant as we like to make out.
Don Corleone, will this do? Or do I have to add footnotes as well?
March 30, 2025
Once, a long, long time ago, I judged someone I Ioved harshly. Like the Bible says, I then called my brother a Fool.
Well, then - way beneath me - Minos' forked tail twitched, then circled seven times.
If you know Dante you know what that means.
Well, the flames still sometimes scorch the very marrow of my naked soul. You know where I was then?
In a very special inferno, home to the Prince of Lies. NEVER call your brother (or any member of your beloved family) Racca.
You then besmirch someone you call sacred to you: your judgement destroys your love.
So now, as an elderly bipolar male, it's time for me to put my very dull, psychiatrically stained, and labelled-for-life two cents' worth into the purgatorial kitty.
I write with some distinction, in spite of my reputation for being a nut case, for I see in Dante's inscription over the gateway to the just (yes, just!) Infernal place of torment four words -
Give Up All Hope. And I did.
The very hand of God wrote those words, and His words are just. Why?
Because, well, you give up Hope - then you give up Love. Love is what saves us: not justice.
But justice is what consigned me to the Pit...
I shall be telling this with a sigh
Somewhere ages and ages hence -
Two roads diverged in a wood, and I
I took the one less travelled by -
And that has made ALL the difference.
My circumstances in confinement belittled me. I turned awry intellectually. Judgement is justice, though, and accepting weakness is purgatorial.
And Kate Millet tried her best, too. And lived to tell the tale. Though she fell deep.
And we bipolar converts, like Kate, see all that, and must burn now temporarily - as Dante says he did while living - in our personally enforced purgatories.
Our label, a serious little joke, makes us seem like we鈥檙e going Down the Up Staircase! But don't laugh. Kate didn't know that our illness is our just deserts.
But to heal we must admit our guilt. Now we must say Mea Culpa. Mea Maxima Culpa!
And simply putting up with subtly-inferred put-downs is purgatorial! It works.
We鈥檇 now rather burn in mortified embarrassment than 鈥渂urn in bale and smother in smoke,鈥� as the librettist W.H. Auden says in The Flood of the Head of Hell, Satan.
For when virtue is relative, we join the denizens of this Infernal Pit. Mortified embarrassment at our wrongdoing happens only in purgatory.
And love and forgiveness lead us there out of our private hells.
That's why some are eternally there. We've lost the key to the exit. "What is Truth?" mocked Pilate.
Yep, him too. 顿补苍迟别鈥檚 acumen is a sharp petard. But there is no comfort in purgatory, either. Literally, no rest for us wicked. But it doesn鈥檛 last.
So you see, don't you, that Dante flatters no one?
We're either burning with infernal fire, or we're burning with embarassment. The latter is our ticket to paradise!
Pure Being.
But now, both sides burn eternally. Nostra culpa.
But only one side knows eternal peace in the end, my friends.
And we will know peace in the end only -
鈥淏y a lifetime burning in every moment鈥� -
In the Peace of whatever Cross we're bearing right here and now!
And we have Plenty of them - all of us:
Mourning and weeping
In this Valley of Tears!
Sovegna vos a temps de ma dolor.
Well, then - way beneath me - Minos' forked tail twitched, then circled seven times.
If you know Dante you know what that means.
Well, the flames still sometimes scorch the very marrow of my naked soul. You know where I was then?
In a very special inferno, home to the Prince of Lies. NEVER call your brother (or any member of your beloved family) Racca.
You then besmirch someone you call sacred to you: your judgement destroys your love.
So now, as an elderly bipolar male, it's time for me to put my very dull, psychiatrically stained, and labelled-for-life two cents' worth into the purgatorial kitty.
I write with some distinction, in spite of my reputation for being a nut case, for I see in Dante's inscription over the gateway to the just (yes, just!) Infernal place of torment four words -
Give Up All Hope. And I did.
The very hand of God wrote those words, and His words are just. Why?
Because, well, you give up Hope - then you give up Love. Love is what saves us: not justice.
But justice is what consigned me to the Pit...
I shall be telling this with a sigh
Somewhere ages and ages hence -
Two roads diverged in a wood, and I
I took the one less travelled by -
And that has made ALL the difference.
My circumstances in confinement belittled me. I turned awry intellectually. Judgement is justice, though, and accepting weakness is purgatorial.
And Kate Millet tried her best, too. And lived to tell the tale. Though she fell deep.
And we bipolar converts, like Kate, see all that, and must burn now temporarily - as Dante says he did while living - in our personally enforced purgatories.
Our label, a serious little joke, makes us seem like we鈥檙e going Down the Up Staircase! But don't laugh. Kate didn't know that our illness is our just deserts.
But to heal we must admit our guilt. Now we must say Mea Culpa. Mea Maxima Culpa!
And simply putting up with subtly-inferred put-downs is purgatorial! It works.
We鈥檇 now rather burn in mortified embarrassment than 鈥渂urn in bale and smother in smoke,鈥� as the librettist W.H. Auden says in The Flood of the Head of Hell, Satan.
For when virtue is relative, we join the denizens of this Infernal Pit. Mortified embarrassment at our wrongdoing happens only in purgatory.
And love and forgiveness lead us there out of our private hells.
That's why some are eternally there. We've lost the key to the exit. "What is Truth?" mocked Pilate.
Yep, him too. 顿补苍迟别鈥檚 acumen is a sharp petard. But there is no comfort in purgatory, either. Literally, no rest for us wicked. But it doesn鈥檛 last.
So you see, don't you, that Dante flatters no one?
We're either burning with infernal fire, or we're burning with embarassment. The latter is our ticket to paradise!
Pure Being.
But now, both sides burn eternally. Nostra culpa.
But only one side knows eternal peace in the end, my friends.
And we will know peace in the end only -
鈥淏y a lifetime burning in every moment鈥� -
In the Peace of whatever Cross we're bearing right here and now!
And we have Plenty of them - all of us:
Mourning and weeping
In this Valley of Tears!
Sovegna vos a temps de ma dolor.
February 13, 2019
An excellent translation--even better than John Ciardi. Like Ciardi, Pinsky is a real poet and makes Dante the poet come alive. His verse has muscularity and force, and his decision to use half-rhyme is an excellent one, since it allows us to attend to the narrative undistracted.
October 8, 2013
A fantastic representation of Dante's Inferno - Nine Circles of Hell as divined by divine Lego artist, . This is as close as I hope to get to understanding the Nine Circles according to Dante Alighieri.
i. LIMBO - A place of monotony, here the souls are punished to wander in restless existence while they moan helplessly in echoes between the ruins of a temple
ii. LUST - Surrounded by erotic representations, those overcome by lust are forced to watch and experience disgusting things, ultimately being condemned to drown in the menstrual river
iii. GLUTTONY - The circle itself is a living abomination, a hellish digestive system revealing horrific faces with mouths ready to devour the gluttons over and over for eternity
iv. GREED - This pompous place is reserved for the punishment of the greedy ones
v. ANGER - In this depressing place the souls are trapped in the swamp, they can鈥檛 move and they cannot manifest their frustration which is making them even more angry
vi. HERESY - The giant demon watches closely over his fire pit, dwarfing the damned that are dragging the new arrivals in the boiling lava. Those who committed the greatest sins against God are getting a special treatment inside the temple where they are doomed to burn for eternity in the scorching flames
vii. VIOLENCE - A place of intense torture where the horrific screams of the damned are eternally accompanied by the hellish beats of drums
viii. FRAUD - : In Fraud the Demons enjoy altering the shape of souls, this is how they feed
ix. TREACHERY - Lucifer lies here chained by the Angelic Seal which keeps him captive in the frozen environment
ARTIST 鈥� Mahai Marius Mihu
(All rights and photographs are property of Mahai Marius Mihu/Rex Features. I claim no ownership to any information in this review, and I own absolutely no rights to any of the property mentioned herein.)
i. LIMBO - A place of monotony, here the souls are punished to wander in restless existence while they moan helplessly in echoes between the ruins of a temple
ii. LUST - Surrounded by erotic representations, those overcome by lust are forced to watch and experience disgusting things, ultimately being condemned to drown in the menstrual river
iii. GLUTTONY - The circle itself is a living abomination, a hellish digestive system revealing horrific faces with mouths ready to devour the gluttons over and over for eternity
iv. GREED - This pompous place is reserved for the punishment of the greedy ones
v. ANGER - In this depressing place the souls are trapped in the swamp, they can鈥檛 move and they cannot manifest their frustration which is making them even more angry
vi. HERESY - The giant demon watches closely over his fire pit, dwarfing the damned that are dragging the new arrivals in the boiling lava. Those who committed the greatest sins against God are getting a special treatment inside the temple where they are doomed to burn for eternity in the scorching flames
vii. VIOLENCE - A place of intense torture where the horrific screams of the damned are eternally accompanied by the hellish beats of drums
viii. FRAUD - : In Fraud the Demons enjoy altering the shape of souls, this is how they feed
ix. TREACHERY - Lucifer lies here chained by the Angelic Seal which keeps him captive in the frozen environment
ARTIST 鈥� Mahai Marius Mihu
(All rights and photographs are property of Mahai Marius Mihu/Rex Features. I claim no ownership to any information in this review, and I own absolutely no rights to any of the property mentioned herein.)
October 22, 2024
El Infierno tan temido...
Ese que transitaron H茅rcules en sus desafiantes trabajos, aquel al que descendi贸 Eneas en el cap铆tulo VI de la "Eneida" o ese pavoroso y horrendo lugar que describe con impactante realismo en su serm贸n el padre Arnall en el libro "Retrato del artista adolescente", de James Joyce al que considero de una perfecci贸n casi cercana a la de Dante Alighieri, o tambi茅n ese otro infierno urbano en el que camina Ad谩n Buenosayres durante la novela hom贸nima y que Leopoldo Marechal narra con tanta maestr铆a en el s茅ptimo y 煤ltimo cap铆tulo, el "Descenso a la ciudad de Cacodelphia".
El Infierno tambi茅n puede expresarse de otras maneras: puede ser psicol贸gico y alojarse en la cabeza de los personajes, tanto en la auto tortura psicol贸gica de Rodion Rask贸lnikov en "Crimen y castigo", en la desesperante situaci贸n de Gregor Samsa en "La metamorfosis" de Franz Kafka o en el sufrimiento Akaki Akaki茅vich con la p茅rdida de lo m谩s importante que posee en "El Capote", de Nik贸lai G贸gol.
Tambi茅n atraviesan un Infierno muy particular aquellos personajes que se al铆an con el Diablo, Lucifer, Satan谩s o Mefist贸feles (el Demonio posee tantos nombres...), como ocurre con el Fausto de Goethe, el Doctor Faustus de Marlowe y en el calvario al que es arrastrado Macbeth o en el tortuoso desandar solitario de la criatura de Frankenstein y en las tentaciones demon铆acas del monje Medardus en "Los elixirs del Diabloc de E.T.A. Hoffmann y Adrian Leverk眉hn en "Doktor Faustus".
Del mismo modo, el infierno puede de remitirse tambi茅n a un lugar, sea ciudad, isla, habitaci贸n, celda, etc.
Ese temido infierno se transforma en una ciudad dominada por "La peste" de la ciudad de Or谩n que con tanta dureza describe Camus. 驴Acaso no es un lugar infernal una ciudad que se infesta de un hedor de muerte y desolaci贸n? 驴No sucede tambi茅n que la tierra se transforma en un infierno deshabitado y apocal铆ptico como en "La peste escarlata" de Jack London, o la desolaci贸n infernal de "La carretera" de Cormac McCarthy?
驴Acaso no vive Winston un infierno en la dist贸pica Ocean铆a del libro "1984"? Ni que hablar del Infierno c贸smico creado por HP Lovecraft en el que somete a todos sus personajes, quienes sufren las amenazas y castigos propias de Cthulhu.
El Infierno puede tambi茅n tener forma de prisi贸n y puede ser real, se puede vivir en carne propia, como lo que narra Fi贸dor Dostoievski durante sus penosos y dur铆simos cuatro a帽os de reclusi贸n en Siberia, donde no arden llamas, sino que todo est谩 terriblemente helado, como el mismo Cocito donde Lucifer despedaza a Judas Iscariote, Casio y Bruto.
Como podemos apreciar, el Infierno tiene muchas formas y todas ellas aterran.
Debo reconocer que al leer este primer libro de "La Divina Comedia", uno reafirma que sigue siendo el m谩s atrayente y entretenido de toda la obra, de todos modos a m铆 siempre me gust贸 much铆simo el Purgatorio y creo que no tiene muchas diferencias con el Infierno en la medida de que todas aquellas almas que est谩n sometidas al monte del Purgatorio tienen castigo casi iguales al del estadio anterior. Recordemos que en el Purgatorio, las almas deben rendir cuentas por sus correspondientes pecados capitales cometidos.
La cuesti贸n de la lectura del tercer libro, el Para铆so, es resistida por muchos lectores, dado que para muchos es el la parte que menos gusta. Muchos la consideran tediosa y de una carga teol贸gica muy alta (bueno, estas eran las convicciones de Dante en la 茅poca).
Cabe destacar la manera (casi brutal) en que Dante Alighieri describe los castigos que sufren los condenados.
Algunos de ellos son indescriptible y demuestran cabalmente qu茅 poder de imaginaci贸n ten铆a el escritor mantuano, hasta qu茅 punto pod铆a llegar en este aspecto.
Indudablemente, es tambi茅n un lugar en el que confina a todos sus enemigos, a todos aquellos adversarios pol铆ticos (algunos de ellos a煤n vivos) y de c贸mo desnuda la realidad del momento pol铆tico coyuntural que se viv铆a en la Italia del a帽o 1300.
P谩rrafo aparte, es de remarcar que la elecci贸n de Virgilio no est谩 hecha para nada al azar. S贸lo un poeta de ese calibre podr铆a haber acompa帽ado a Dante al Infierno, puesto que es su gu铆a, su maestro y mentor, aunque Virgilio forma parte de ese limbo previo al Infierno, que contiene las almas de aquellos que no fueron bautizados antes Dios y que por ende, no puede ascender al Para铆so. Virgilio acompa帽ar谩 a Dante hasta cierto punto del Purgatorio, por lo que Dante deber谩 continuar su viaje solo.
Yo le铆 esta parte de La Divina Comedia, publicada por Editorial Losada en tres libros, con el agregado de aclaratorias notas adicionales, pero tuve la suerte de conseguir un volumen de 1946, ilustrado por Gustave Dor茅, a quien admiro mucho y con el agregado de que el libro tiene la primer traducci贸n que se hizo al espa帽ol, y la hizo quien fuera Presidente de la Rep煤blica Argentina, Bartolom茅 Mitre, una edici贸nde 1938 publicada por la vieja editorialde El Ateneo y otra escrita en prosa con pr贸logo de Stefan Zweig. Muchos expertos destacan que sigue siendo esta la traducci贸n m谩s clara y fidedigna que se ha hecho de esta obra de arte al espa帽ol.
Es incre铆blemente atrapante leer el Infierno de la Divina Comedia. Como suele decirse en ingl茅s: It's a hell of a ride!
Ese que transitaron H茅rcules en sus desafiantes trabajos, aquel al que descendi贸 Eneas en el cap铆tulo VI de la "Eneida" o ese pavoroso y horrendo lugar que describe con impactante realismo en su serm贸n el padre Arnall en el libro "Retrato del artista adolescente", de James Joyce al que considero de una perfecci贸n casi cercana a la de Dante Alighieri, o tambi茅n ese otro infierno urbano en el que camina Ad谩n Buenosayres durante la novela hom贸nima y que Leopoldo Marechal narra con tanta maestr铆a en el s茅ptimo y 煤ltimo cap铆tulo, el "Descenso a la ciudad de Cacodelphia".
El Infierno tambi茅n puede expresarse de otras maneras: puede ser psicol贸gico y alojarse en la cabeza de los personajes, tanto en la auto tortura psicol贸gica de Rodion Rask贸lnikov en "Crimen y castigo", en la desesperante situaci贸n de Gregor Samsa en "La metamorfosis" de Franz Kafka o en el sufrimiento Akaki Akaki茅vich con la p茅rdida de lo m谩s importante que posee en "El Capote", de Nik贸lai G贸gol.
Tambi茅n atraviesan un Infierno muy particular aquellos personajes que se al铆an con el Diablo, Lucifer, Satan谩s o Mefist贸feles (el Demonio posee tantos nombres...), como ocurre con el Fausto de Goethe, el Doctor Faustus de Marlowe y en el calvario al que es arrastrado Macbeth o en el tortuoso desandar solitario de la criatura de Frankenstein y en las tentaciones demon铆acas del monje Medardus en "Los elixirs del Diabloc de E.T.A. Hoffmann y Adrian Leverk眉hn en "Doktor Faustus".
Del mismo modo, el infierno puede de remitirse tambi茅n a un lugar, sea ciudad, isla, habitaci贸n, celda, etc.
Ese temido infierno se transforma en una ciudad dominada por "La peste" de la ciudad de Or谩n que con tanta dureza describe Camus. 驴Acaso no es un lugar infernal una ciudad que se infesta de un hedor de muerte y desolaci贸n? 驴No sucede tambi茅n que la tierra se transforma en un infierno deshabitado y apocal铆ptico como en "La peste escarlata" de Jack London, o la desolaci贸n infernal de "La carretera" de Cormac McCarthy?
驴Acaso no vive Winston un infierno en la dist贸pica Ocean铆a del libro "1984"? Ni que hablar del Infierno c贸smico creado por HP Lovecraft en el que somete a todos sus personajes, quienes sufren las amenazas y castigos propias de Cthulhu.
El Infierno puede tambi茅n tener forma de prisi贸n y puede ser real, se puede vivir en carne propia, como lo que narra Fi贸dor Dostoievski durante sus penosos y dur铆simos cuatro a帽os de reclusi贸n en Siberia, donde no arden llamas, sino que todo est谩 terriblemente helado, como el mismo Cocito donde Lucifer despedaza a Judas Iscariote, Casio y Bruto.
Como podemos apreciar, el Infierno tiene muchas formas y todas ellas aterran.
Debo reconocer que al leer este primer libro de "La Divina Comedia", uno reafirma que sigue siendo el m谩s atrayente y entretenido de toda la obra, de todos modos a m铆 siempre me gust贸 much铆simo el Purgatorio y creo que no tiene muchas diferencias con el Infierno en la medida de que todas aquellas almas que est谩n sometidas al monte del Purgatorio tienen castigo casi iguales al del estadio anterior. Recordemos que en el Purgatorio, las almas deben rendir cuentas por sus correspondientes pecados capitales cometidos.
La cuesti贸n de la lectura del tercer libro, el Para铆so, es resistida por muchos lectores, dado que para muchos es el la parte que menos gusta. Muchos la consideran tediosa y de una carga teol贸gica muy alta (bueno, estas eran las convicciones de Dante en la 茅poca).
Cabe destacar la manera (casi brutal) en que Dante Alighieri describe los castigos que sufren los condenados.
Algunos de ellos son indescriptible y demuestran cabalmente qu茅 poder de imaginaci贸n ten铆a el escritor mantuano, hasta qu茅 punto pod铆a llegar en este aspecto.
Indudablemente, es tambi茅n un lugar en el que confina a todos sus enemigos, a todos aquellos adversarios pol铆ticos (algunos de ellos a煤n vivos) y de c贸mo desnuda la realidad del momento pol铆tico coyuntural que se viv铆a en la Italia del a帽o 1300.
P谩rrafo aparte, es de remarcar que la elecci贸n de Virgilio no est谩 hecha para nada al azar. S贸lo un poeta de ese calibre podr铆a haber acompa帽ado a Dante al Infierno, puesto que es su gu铆a, su maestro y mentor, aunque Virgilio forma parte de ese limbo previo al Infierno, que contiene las almas de aquellos que no fueron bautizados antes Dios y que por ende, no puede ascender al Para铆so. Virgilio acompa帽ar谩 a Dante hasta cierto punto del Purgatorio, por lo que Dante deber谩 continuar su viaje solo.
Yo le铆 esta parte de La Divina Comedia, publicada por Editorial Losada en tres libros, con el agregado de aclaratorias notas adicionales, pero tuve la suerte de conseguir un volumen de 1946, ilustrado por Gustave Dor茅, a quien admiro mucho y con el agregado de que el libro tiene la primer traducci贸n que se hizo al espa帽ol, y la hizo quien fuera Presidente de la Rep煤blica Argentina, Bartolom茅 Mitre, una edici贸nde 1938 publicada por la vieja editorialde El Ateneo y otra escrita en prosa con pr贸logo de Stefan Zweig. Muchos expertos destacan que sigue siendo esta la traducci贸n m谩s clara y fidedigna que se ha hecho de esta obra de arte al espa帽ol.
Es incre铆blemente atrapante leer el Infierno de la Divina Comedia. Como suele decirse en ingl茅s: It's a hell of a ride!
June 20, 2018
This review and other non-spoilery reviews can be found
鈥淏ut the stars that marked our starting fall away.
We must go deeper into greater pain,
for it is not permitted that we stay.鈥�
馃専 Basically this book is about 顿补苍迟别鈥檚 journey in hell, so it must be one hell of a book, right?
馃専 I am not actually the biggest fan of modern poetry. I have tried books as The princess saves herself in this one and Milk and simply did not like them because they felt like a Facebook or a Tumblr post more than a book. Just put some words in certain topics in a column and that鈥檚 it.
馃専 I may have gone to the other extremity when I read a book written in 1300. And I was not disappointed. Dante is known as one of history鈥檚 greatest authors and you can see that in the writing style. I will take this opportunity to thanks the genius-being who is the translator. To be able to capture the essence, the rhyme and the messages in another language while maintaining the originality is no easy task. And he outdid himself in this one.
馃専 This is not a typical book, I mean there is no character development and plot twists because this is freaking hell! People are tortured here and not supposed to develop. Lol! A point that Dante clearly emphasized is that the punishment is equal to the sin. For example :
In the third circle, the gluttonous wallow in a vile, putrid slush produced by a ceaseless, foul, icy rain 鈥� 鈥渁 great storm of putrefaction鈥� 鈥� as punishment for subjecting their reason to a voracious appetite.
馃専 But one thing I am not sure about is how the author was censorious enough to pass judgement on many important figures. He decided that some people as Saladin and Prophet Mohamet were in hell and he even decided what circles to put them in. A slightly offending thing because it was clearly biased.
馃専Summary: A not so typical journey and a not so typical book. If you鈥檙e looking to read a slightly heavy book that affected literature (according to my friend who studies Eng lit) then this is what you are looking for.
鈥淏ut the stars that marked our starting fall away.
We must go deeper into greater pain,
for it is not permitted that we stay.鈥�
馃専 Basically this book is about 顿补苍迟别鈥檚 journey in hell, so it must be one hell of a book, right?
馃専 I am not actually the biggest fan of modern poetry. I have tried books as The princess saves herself in this one and Milk and simply did not like them because they felt like a Facebook or a Tumblr post more than a book. Just put some words in certain topics in a column and that鈥檚 it.
馃専 I may have gone to the other extremity when I read a book written in 1300. And I was not disappointed. Dante is known as one of history鈥檚 greatest authors and you can see that in the writing style. I will take this opportunity to thanks the genius-being who is the translator. To be able to capture the essence, the rhyme and the messages in another language while maintaining the originality is no easy task. And he outdid himself in this one.
馃専 This is not a typical book, I mean there is no character development and plot twists because this is freaking hell! People are tortured here and not supposed to develop. Lol! A point that Dante clearly emphasized is that the punishment is equal to the sin. For example :
In the third circle, the gluttonous wallow in a vile, putrid slush produced by a ceaseless, foul, icy rain 鈥� 鈥渁 great storm of putrefaction鈥� 鈥� as punishment for subjecting their reason to a voracious appetite.
馃専 But one thing I am not sure about is how the author was censorious enough to pass judgement on many important figures. He decided that some people as Saladin and Prophet Mohamet were in hell and he even decided what circles to put them in. A slightly offending thing because it was clearly biased.
馃専Summary: A not so typical journey and a not so typical book. If you鈥檙e looking to read a slightly heavy book that affected literature (according to my friend who studies Eng lit) then this is what you are looking for.
December 5, 2024
Not as funny as one might assume a divine comedy would be.
I read this in preparation for a Great Courses lecture on it, so hopefully I'll come back with more insight on the whole thing.
But upon first reading, my takeaway is that it seems as though Mr. Alighieri just had some bones to pick and a vivid imagination. I've got to read the rest of this set and see how it all turns out for him.
The skinny gist is that Dante gets lost in some woods and runs into the Roman poet Virgil, who then takes Dante on a side quest to Hell. And ew it is not a pretty place.
The sinners stuck there in varying degrees of misery, torture, and in one instance actual shit, all seem to have done the same (ish) sorts of things. So, Dante must have had some kind of internal ranking system that I don't fully understand yet. <-this is what the lecture series will be for, so don't give up on me.
But my point is, none of it was especially titillating or even shocking, and then all of a sudden as we hit the home stretch - OHMYGOD HE ATE HIS DEAD KIDS!
Ok, Dante. I see you.
But for the most part?
Lots of liars in Hell, my friend.
And the people who couldn't resist the sex monster, of course.
And religious leaders.
I was honestly shocked when he ran up on Joel Osteen and Pat Robertson getting spanked by a demon.
Like, wow. Even back then, they were known...
Recommended.<--if for no other reason than to be able to look smug and say you've read that one already.
The narration by George Guidall was great if anyone is looking at the Recorded Books audiobook version.
I read this in preparation for a Great Courses lecture on it, so hopefully I'll come back with more insight on the whole thing.
But upon first reading, my takeaway is that it seems as though Mr. Alighieri just had some bones to pick and a vivid imagination. I've got to read the rest of this set and see how it all turns out for him.
The skinny gist is that Dante gets lost in some woods and runs into the Roman poet Virgil, who then takes Dante on a side quest to Hell. And ew it is not a pretty place.
The sinners stuck there in varying degrees of misery, torture, and in one instance actual shit, all seem to have done the same (ish) sorts of things. So, Dante must have had some kind of internal ranking system that I don't fully understand yet. <-this is what the lecture series will be for, so don't give up on me.
But my point is, none of it was especially titillating or even shocking, and then all of a sudden as we hit the home stretch - OHMYGOD HE ATE HIS DEAD KIDS!
Ok, Dante. I see you.
But for the most part?
Lots of liars in Hell, my friend.
And the people who couldn't resist the sex monster, of course.
And religious leaders.
I was honestly shocked when he ran up on Joel Osteen and Pat Robertson getting spanked by a demon.
Like, wow. Even back then, they were known...
Recommended.<--if for no other reason than to be able to look smug and say you've read that one already.
The narration by George Guidall was great if anyone is looking at the Recorded Books audiobook version.
May 5, 2017
丕蹖 丌賳 讴賴 亘丿蹖賳 賲讴丕賳 丿丕禺賱 賲蹖 卮賵蹖貙 丕夭 賴乇 丕賲蹖丿蹖 丿爻鬲 亘卮賵蹖!
爻乇 丿乇 丿賵夭禺
讴賲丿蹖 丕賱賴蹖貙 卮丕賴讴丕乇 "丿丕賳鬲賴" 卮丕毓乇 丕蹖鬲丕賱蹖丕蹖蹖貙 卮乇丨 爻賮乇 禺蹖丕賱蹖 丕賵 丕夭 丿賵夭禺 亘賴 亘乇夭禺 賵 爻倬爻 亘賴 亘賴卮鬲 丕爻鬲. 丿丕賳鬲賴 丿乇 鬲賵氐蹖賮 胤亘賯丕鬲 丿賵夭禺 賵 亘賴卮鬲貙 丕夭 鬲賱賮蹖賯蹖 丕夭 丕賱賴蹖丕鬲 賲爻蹖丨蹖 賵 丕爻丕胤蹖乇 乇賵賲蹖 賵 鬲禺蹖賱 禺賵蹖卮 亘賴乇賴 亘乇丿賴 丕爻鬲.
賲毓卮賵賯 丕賵貙 "亘卅丕鬲乇蹖爻" 讴賴 爻丕讴賳 亘賴卮鬲 丕爻鬲貙 蹖讴蹖 丕夭 丕乇賵丕丨 乇丕 (乇賵丨 "賵蹖乇跇蹖賱"貙 卮丕毓乇 乇賵賲蹖) 賲蹖 賮乇爻鬲丿 鬲丕 丿丕賳鬲賴 乇丕 乇丕賴賳賲丕蹖蹖 讴乇丿賴貙 丕夭 丿賵夭禺 賳噩丕鬲 丿賴丿 賵 亘賴 亘賴卮鬲 亘乇爻丕賳丿. 亘乇丕蹖 丕蹖賳 爻賮乇貙 丿丕賳鬲賴 亘丕蹖丿 丕夭 胤亘賯丕鬲 丿賵夭禺 蹖讴 亘賴 蹖讴 倬丕蹖蹖賳 亘乇賵丿 賵 丕夭 賲蹖丕賳 丕乇賵丕丨 賲毓匕亘 亘诏匕乇丿 鬲丕 丿乇 賯毓乇 丿賵夭禺貙 亘賴 丿乇蹖趩賴 蹖 亘乇夭禺 亘乇爻丿.
趩乇丕 讴賲丿蹖責
丿乇 丕丿亘蹖丕鬲 丌賳 丿賵乇賴貙 丕卮毓丕乇 丿賵 丿爻鬲賴 亘賵丿賳丿:
丕卮毓丕乇蹖 讴賴 夭亘丕賳蹖 賮丕禺乇 賵 倬丕蹖丕賳蹖 賮丕噩毓賴 亘丕乇 丿丕卮鬲賳丿貙 "鬲乇丕跇丿蹖" 賳丕賲蹖丿賴 賲蹖 卮丿賳丿.
賵 丕卮毓丕乇蹖 讴賴 夭亘丕賳蹖 毓丕賲蹖丕賳賴 賵 倬丕蹖丕賳蹖 禺賵卮 丿丕卮鬲賳丿貙 "讴賲丿蹖".
賵 趩賵賳 讴賲丿蹖 丕賱賴蹖 賴賲 夭亘丕賳蹖 毓丕賲蹖丕賳賴 丿丕乇丿 賵 賴賲 倬丕蹖丕賳蹖 禺賵卮 (乇爻蹖丿賳 亘賴 亘賴卮鬲)貙 禺賵丿 丿丕賳鬲賴 亘乇 丌賳 賳丕賲 "讴賲丿蹖" 賳賴丕丿 讴賴 亘毓丿賴丕 亘賴 "讴賲丿蹖 丕賱賴蹖" 賲亘丿賱 卮丿.
噩睾乇丕賮蹖丕蹖 丿賵夭禺
亘賳丕 亘乇 讴賲丿蹖 丕賱賴蹖貙 鬲賲丕賲 爻賴 賲乇丨賱賴 蹖 丿賵夭禺貙 亘乇夭禺 賵 亘賴卮鬲貙 亘乇 乇賵蹖 夭賲蹖賳 賴爻鬲賳丿.
亘乇 丕爻丕爻 噩睾乇丕賮蹖丕蹖 賯乇賵賳 賵爻胤丕 鬲賳賴丕 蹖讴 趩賴丕乇賲 夭賲蹖賳 賯丕亘賱 爻讴賵賳鬲 亘賵丿 讴賴 丕夭 卮乇賯 亘賴 賴賳丿貙 丕夭 睾乇亘 亘賴 丕爻倬丕賳蹖丕 賵 丕夭 噩賳賵亘 亘賴 丕爻鬲賵丕 賲丨丿賵丿 賲蹖 卮丿 賵 賲乇讴夭 丌賳貙 卮賴乇 賲賯丿爻 丕賵乇卮賱蹖賲 賯乇丕乇 丿丕卮鬲貙 賵 亘丕賯蹖 夭賲蹖賳 賴賲賴 丌亘 亘賵丿. 丿賵夭禺貙 丿乇 夭蹖乇 爻胤丨 丕蹖賳 賳蹖賲讴乇賴 蹖 賲爻讴賵賳蹖 賯乇丕乇 丿丕乇丿 賵 亘賴卮鬲貙 丿賯蹖賯丕賸 丿乇 夭蹖乇 丕賵乇卮賱蹖賲貙 丿乇 丌賳 爻賵蹖 讴乇賴 蹖 夭賲蹖賳.
丿賵夭禺貙 丨賮乇賴 丕蹖 丕爻鬲 亘賴 卮讴賱 賯蹖賮 讴賴 亘乇 丕孬乇 爻賯賵胤 賲賴蹖亘 卮蹖胤丕賳 丕夭 毓乇卮 丕賱賴蹖 亘乇 夭賲蹖賳 丕蹖噩丕丿 卮丿賴 丕爻鬲. 卮蹖胤丕賳貙 禺賵丿貙 丿乇 賯毓乇 丕蹖賳 诏賵丿丕賱 (丿乇 賲乇讴夭 夭賲蹖賳) 鬲丕 讴賲乇 丿乇 夭賲蹖賳 賮乇賵 乇賮鬲賴 丕爻鬲 賵 亘丕賯蹖 诏賳賴讴丕乇丕賳貙 丿乇 胤亘賯丕鬲 倬賱讴丕賳蹖 賳賴 诏丕賳賴 蹖 丌賳 毓匕丕亘 賲蹖 卮賵賳丿.锘�
爻乇 丿乇 丿賵夭禺
讴賲丿蹖 丕賱賴蹖貙 卮丕賴讴丕乇 "丿丕賳鬲賴" 卮丕毓乇 丕蹖鬲丕賱蹖丕蹖蹖貙 卮乇丨 爻賮乇 禺蹖丕賱蹖 丕賵 丕夭 丿賵夭禺 亘賴 亘乇夭禺 賵 爻倬爻 亘賴 亘賴卮鬲 丕爻鬲. 丿丕賳鬲賴 丿乇 鬲賵氐蹖賮 胤亘賯丕鬲 丿賵夭禺 賵 亘賴卮鬲貙 丕夭 鬲賱賮蹖賯蹖 丕夭 丕賱賴蹖丕鬲 賲爻蹖丨蹖 賵 丕爻丕胤蹖乇 乇賵賲蹖 賵 鬲禺蹖賱 禺賵蹖卮 亘賴乇賴 亘乇丿賴 丕爻鬲.
賲毓卮賵賯 丕賵貙 "亘卅丕鬲乇蹖爻" 讴賴 爻丕讴賳 亘賴卮鬲 丕爻鬲貙 蹖讴蹖 丕夭 丕乇賵丕丨 乇丕 (乇賵丨 "賵蹖乇跇蹖賱"貙 卮丕毓乇 乇賵賲蹖) 賲蹖 賮乇爻鬲丿 鬲丕 丿丕賳鬲賴 乇丕 乇丕賴賳賲丕蹖蹖 讴乇丿賴貙 丕夭 丿賵夭禺 賳噩丕鬲 丿賴丿 賵 亘賴 亘賴卮鬲 亘乇爻丕賳丿. 亘乇丕蹖 丕蹖賳 爻賮乇貙 丿丕賳鬲賴 亘丕蹖丿 丕夭 胤亘賯丕鬲 丿賵夭禺 蹖讴 亘賴 蹖讴 倬丕蹖蹖賳 亘乇賵丿 賵 丕夭 賲蹖丕賳 丕乇賵丕丨 賲毓匕亘 亘诏匕乇丿 鬲丕 丿乇 賯毓乇 丿賵夭禺貙 亘賴 丿乇蹖趩賴 蹖 亘乇夭禺 亘乇爻丿.
趩乇丕 讴賲丿蹖責
丿乇 丕丿亘蹖丕鬲 丌賳 丿賵乇賴貙 丕卮毓丕乇 丿賵 丿爻鬲賴 亘賵丿賳丿:
丕卮毓丕乇蹖 讴賴 夭亘丕賳蹖 賮丕禺乇 賵 倬丕蹖丕賳蹖 賮丕噩毓賴 亘丕乇 丿丕卮鬲賳丿貙 "鬲乇丕跇丿蹖" 賳丕賲蹖丿賴 賲蹖 卮丿賳丿.
賵 丕卮毓丕乇蹖 讴賴 夭亘丕賳蹖 毓丕賲蹖丕賳賴 賵 倬丕蹖丕賳蹖 禺賵卮 丿丕卮鬲賳丿貙 "讴賲丿蹖".
賵 趩賵賳 讴賲丿蹖 丕賱賴蹖 賴賲 夭亘丕賳蹖 毓丕賲蹖丕賳賴 丿丕乇丿 賵 賴賲 倬丕蹖丕賳蹖 禺賵卮 (乇爻蹖丿賳 亘賴 亘賴卮鬲)貙 禺賵丿 丿丕賳鬲賴 亘乇 丌賳 賳丕賲 "讴賲丿蹖" 賳賴丕丿 讴賴 亘毓丿賴丕 亘賴 "讴賲丿蹖 丕賱賴蹖" 賲亘丿賱 卮丿.
噩睾乇丕賮蹖丕蹖 丿賵夭禺
亘賳丕 亘乇 讴賲丿蹖 丕賱賴蹖貙 鬲賲丕賲 爻賴 賲乇丨賱賴 蹖 丿賵夭禺貙 亘乇夭禺 賵 亘賴卮鬲貙 亘乇 乇賵蹖 夭賲蹖賳 賴爻鬲賳丿.
亘乇 丕爻丕爻 噩睾乇丕賮蹖丕蹖 賯乇賵賳 賵爻胤丕 鬲賳賴丕 蹖讴 趩賴丕乇賲 夭賲蹖賳 賯丕亘賱 爻讴賵賳鬲 亘賵丿 讴賴 丕夭 卮乇賯 亘賴 賴賳丿貙 丕夭 睾乇亘 亘賴 丕爻倬丕賳蹖丕 賵 丕夭 噩賳賵亘 亘賴 丕爻鬲賵丕 賲丨丿賵丿 賲蹖 卮丿 賵 賲乇讴夭 丌賳貙 卮賴乇 賲賯丿爻 丕賵乇卮賱蹖賲 賯乇丕乇 丿丕卮鬲貙 賵 亘丕賯蹖 夭賲蹖賳 賴賲賴 丌亘 亘賵丿. 丿賵夭禺貙 丿乇 夭蹖乇 爻胤丨 丕蹖賳 賳蹖賲讴乇賴 蹖 賲爻讴賵賳蹖 賯乇丕乇 丿丕乇丿 賵 亘賴卮鬲貙 丿賯蹖賯丕賸 丿乇 夭蹖乇 丕賵乇卮賱蹖賲貙 丿乇 丌賳 爻賵蹖 讴乇賴 蹖 夭賲蹖賳.
丿賵夭禺貙 丨賮乇賴 丕蹖 丕爻鬲 亘賴 卮讴賱 賯蹖賮 讴賴 亘乇 丕孬乇 爻賯賵胤 賲賴蹖亘 卮蹖胤丕賳 丕夭 毓乇卮 丕賱賴蹖 亘乇 夭賲蹖賳 丕蹖噩丕丿 卮丿賴 丕爻鬲. 卮蹖胤丕賳貙 禺賵丿貙 丿乇 賯毓乇 丕蹖賳 诏賵丿丕賱 (丿乇 賲乇讴夭 夭賲蹖賳) 鬲丕 讴賲乇 丿乇 夭賲蹖賳 賮乇賵 乇賮鬲賴 丕爻鬲 賵 亘丕賯蹖 诏賳賴讴丕乇丕賳貙 丿乇 胤亘賯丕鬲 倬賱讴丕賳蹖 賳賴 诏丕賳賴 蹖 丌賳 毓匕丕亘 賲蹖 卮賵賳丿.锘�
September 9, 2021
亘卅丕鬲乇蹖爻! 丕蹖 亘卅丕鬲乇蹖爻 夭蹖亘丕 !
賯丿乇鬲 毓卮賯 鬲賵 趩賳丕賳 賳蹖乇賵蹖蹖 卮诏賮鬲 丕夭 匕賵賯 亘賴 丿丕賳鬲賴 亘禺卮蹖丿 讴賴 爻乇丕賳噩丕賲 鬲賵丕賳爻鬲 丿乇 賵氐賮鬲 卮毓乇蹖 亘爻乇丕蹖丿 讴賴 倬蹖卮 丕夭 丌賳 亘乇丕蹖 賴蹖趩 夭賳蹖 爻乇賵丿賴 賳卮丿賴 亘賵丿 .
讴賲丿蹖 丕賱賴蹖 蹖讴 卮毓乇 丨賲丕爻蹖 賲毓乇賵賮 賯乇賵賳 賵爻胤丕蹖蹖 丕蹖鬲丕賱蹖丕蹖蹖 丕爻鬲 讴賴 賯賱賲乇賵賴丕蹖 夭賳丿诏蹖 倬爻 丕夭 賲乇诏 乇丕 亘賴 鬲氐賵蹖乇 賲蹖 讴卮丿. 丕蹖賳 丿丕爻鬲丕賳 爻賮乇 丌賳 噩賴丕賳蹖 丿丕賳鬲賴 丕爻鬲 讴賴 丿乇 毓乇囟 丿賴 乇賵夭 賵 亘賴 乇丕賴賳賲丕蹖蹖 賵蹖乇跇蹖賱(賲馗賴乇 毓賯賱) 賵 亘卅丕鬲乇蹖爻(賲馗賴乇 毓卮賯)氐賵乇鬲 賲蹖鈥屭屫必� .
丿丕爻鬲丕賳 賯爻賲鬲 丕賵賱 丕蹖賳 爻賮乇 讴賴 丿乇 讴鬲丕亘 丿賵夭禺 賳诏丕卮鬲賴 卮丿賴 丕爻鬲 丿乇 夭蹖乇夭賲蹖賳貙 蹖毓賳蹖 丿乇 馗賱賲丕鬲 胤蹖 賲蹖 卮賵丿. 丕蹖賳 丌賳 賯爻賲鬲蹖 丕夭 爻賮乇丕爻鬲 讴賴 亘賴 丿賵夭禺 賲乇亘賵胤 丕爻鬲貙 夭蹖乇丕 丿賵夭禺 丿丕賳鬲賴 丕夭 夭蹖乇 賯卮乇夭賲蹖賳 卮乇賵毓 賲蹖 卮賵丿 賵 亘賴 賳賯胤踿 賲乇讴夭蹖 讴乇踿 禺丕讴蹖 倬丕蹖丕賳 賲蹖 倬匕蹖乇丿 讴賴 丿乇 丌賳噩丕 卮蹖胤丕賳貙 賮乇賲丕賳乇賵丕蹖 丿蹖丕乇 乇賳噩 貙 賲讴丕賳 丿丕乇丿 賵 賯賱賲乇賵 毓馗賷賲 禺賵丿 乇丕 丕丿丕乇賴 賲蹖鈥屭┵嗀�.
丕蹖賳 丨賮乇踿 毓馗賷賲 讴賴 丿賵夭禺 賳丕賲 丿丕乇丿貙 禺丕賳賴 馗賱賲鬲 賵 爻乇賲丕 賵 讴蹖賳賴 賵 噩賴賱 貙 鬲乇爻 賵 囟毓賮 賵 夭卮鬲蹖 蹖毓賳蹖 賴賲賴 丌賳 丌孬丕乇 卮乇 丕爻鬲 讴賴 丕夭 噩丕賳亘 丕賴乇賲賳 賲蹖鈥屫③屫� 賵 亘賴 丕賴乇賲賳 亘丕夭 賲蹖鈥屭必�. 賵賱蹖 丌賳趩賴 亘丕 賲丕賴蹖鬲 丿賵夭禺 爻乇卮鬲賴 卮丿賴 賵 丿乇 賵丕賯毓 鬲丕乇 賵 倬賵丿 丌賳 乇丕 爻丕禺鬲賴 丕爻鬲貙 亘蹖鈥屫з呟屫� 蹖毓賳蹖 賲丨乇賵賲蹖鬲 丕亘丿蹖 丕夭丕賲蹖丿 丕爻鬲.
鬲賲丕賲 诏賳丕賴丕賳 賵 诏賳丕賴讴丕乇丕賳 乇賵蹖 亘丿蹖賳 丿賵夭禺 丿丕乇賳丿. 賴乇賯丿乇 诏賳丕賴蹖 爻賳诏蹖賳 鬲乇 亘丕卮丿貙 氐丕丨亘 丌賳 倬丕蹖蹖賳 鬲乇 賲蹖鈥屫з佖�. 鬲丕 賳賵亘鬲 亘賴 蹖賴賵丿丕 賲蹖鈥屫必池� 讴賴 丕夭 賮乇胤 爻賳诏蹖賳蹖 诏賳丕賴 丿乇鈥� 讴丕賲 卮蹖胤丕賳 噩丕卅 丿丕乇丿. 丿乇 丕蹖賳 噩賴賳賲 诏賳丕賴讴丕乇丕賳 亘賴 丨爻亘 丕賳賵丕毓 诏賳丕賴丕賳 禺賵丿 亘賴 丿爻鬲賴 賴丕蹖 賲禺鬲賱賮 诏賳丕賴讴丕乇丕賳 鬲賯爻蹖賲 卮丿賴 賵 亘賴 丿爻鬲 丕賳賵丕毓 讴蹖賮乇賴丕 賵毓賯丕亘鈥屬囏� 爻倬乇丿賴 卮丿蹠丕賳丿 讴賴 爻禺鬲鈥屫臂屬� 丕賳鈥屬囏� 馗賱賲丕鬲 賲胤賱賯 賵 爻乇賲丕蹖 丕亘丿蹖 胤亘賯踿 賳賴賲貙 蹖毓賳蹖 丌賳噩丕爻鬲 讴賴 卮蹖胤丕賳 丿乇 賵爻胤 丌賳 賲讴丕賳 丿丕乇丿. 丕蹖賳 馗賱賲丕鬲 賵 爻乇賲丕 賲馗賴乇丕賳讴丕乇 讴丕賲賱 毓賵丕胤賮 丕賳爻丕賳蹖 賵 賲丨亘鬲 賵 毓卮賯 丕夭 胤乇賮 诏賳丕賴讴丕乇丕賳蹖 丕爻鬲 讴賴 亘丿蹖賳 賵乇胤賴 丕賮鬲丕丿賴鈥屫з嗀� 鬲丕 胤亘賯 賯丕賳賵賳 鬲丕賵丕賳 讴賴 賯丕賳賵賳 讴賱蹖 賵 丕氐賱蹖 噩賴賳賲 丕爻鬲 賲噩丕夭丕鬲 亘賷賳賳丿 .
爻賮乇 丿賵夭禺 乇丕 氐乇賮賳馗乇 丕夭 丨賵丕丿孬 馗丕賴乇蹖 丌賳 賲蹖鈥屫堌з� 趩賳蹖賳 禺賱丕氐賴 讴乇丿:
丿丕賳鬲賴 (賲馗賴乇 賳賵毓 亘卮乇) 讴賴 丿乇 卮丕賴乇丕賴 夭賳丿诏蹖 爻乇诏乇賲 丨乇讴鬲 丕爻鬲 丿乇賳賷賲踿 丕蹖賳 乇丕賴 賳丕诏賴丕賳 禺賵丿 乇丕 丿乇 噩賳诏賱蹖 鬲丕乇蹖讴 賵 賲賵丨卮 賲蹖 蹖丕亘丿 (馗賱賲鬲 禺胤丕 賵 诏賳丕賴讴丕乇蹖). 丕丨爻丕爻 賲蹖 讴賳丿 亘蹖 丌賳讴賴 禺賵丿 賲鬲賵噩賴 卮丿賴 亘丕卮丿 丕夭 噩丕丿賴 亘賴 丿賵乇丕賮鬲丕丿賴 乇丕賴 丕爻鬲 乇丕诏賲 讴乇丿賴 丕爻鬲. 丿乇蹖賳 噩賳诏賱 鬲丕乇蹖讴 讴賴 丕夭 賴蹖趩 噩丕賳亘 賮乇賵睾 禺賵乇卮蹖丿(丌乇丕賲卮 賵 倬丕讴蹖) 亘丿丕賳 乇禺賳賴 賳賲蹖鈥屫堌з嗀� 讴乇丿 丿丕賳鬲賴 禺賵丿 乇丕 爻禺鬲 倬乇蹖卮丕賳 賵 賳賵賲賷丿 賲蹖鈥屰屫жㄘ�.
賵蹖 賳丕诏賴丕賳 丿乇 倬蹖卮 乇賵蹖 禺賵丿 賵賱蹖 丿乇 賮丕氐賱賴 丕蹖 丿賵乇貙 丿丕賲賳賴 鬲倬賴 丕蹖 乇丕 賲蹖鈥屫ㄛ屬嗀� 讴賴 亘丕 賮乇賵睾 禺賵乇卮蹖丿 乇賵卮賳 卮丿賴 丕爻鬲. 丕蹖賳 鬲倬賴 讴賵賴 爻毓丕丿鬲 賵 乇爻鬲诏丕乇蹖 賵 丕蹖賳 賮乇賵睾貙 賮乇賵睾 氐賮丕蹖 丕賱賴蹖 爻鬲. 丿丕賳鬲賴 亘丕 卮賵賯 乇賵 亘丿丕賳 爻賵 賲蹖鈥屬嗁囏� 賵賱蹖 賲蹖鈥屫ㄛ屬嗀� 丕蹖賳 賲爻蹖乇 爻禺鬲 賵 氐毓亘 丕賱毓亘賵乇 丕爻鬲 賵 賵蹖 卮賴丕賲鬲 噩賴丕丿 亘丕 賳賮爻 乇丕 賳丿丕乇丿. 丿乇 丕蹖賳 賴賳诏丕賲 賵蹖乇跇蹖賱 賲馗賴乇 賲賳胤賯 賵 毓賯賱 亘卮乇蹖 亘賴 讴賲讴 丕賵 賲蹖鈥屫③屫� 鬲丕 丕賵 乇丕 丕夭 賵丕丿蹖 诏賳丕賴 (丿賵夭禺) 亘賴 爻乇賲賳夭賱 倬卮蹖賲丕賳蹖(亘乇夭禺) 賵 爻倬爻 爻毓丕丿鬲(亘賴卮鬲) 亘乇爻丕賳丿...
丿乇 爻乇丕爻乇 丕蹖賳 讴鬲丕亘貙 丿丕賳鬲賴 丕夭 賳賲丕丿賴丕蹖 丕爻丕胤蹖乇蹖 賵 丿蹖賳蹖 亘乇丕蹖 丕賱賯丕蹖 賲賮丕賴蹖賲 賲丿賳馗乇 禺賵丿 亘賴乇賴 噩爻鬲賴 丕爻鬲 . 亘賴 胤賵乇 禺賱丕氐賴 賲蹖鈥屫堌з� 爻賴 賳賵毓 鬲賮爻蹖乇 丕夭 鬲賲孬蹖賱 賴丕 賵 賳賲丕丿賴丕蹖 丕蹖賳 丕卮毓丕乇 丿乇讴 讴乇丿 賵 丌賳 乇丕 亘賴 乇賵卮賴丕蹖 賲禺鬲賱賮 禺賵丕賳丿:
亘乇丿丕卮鬲 鬲丕乇蹖禺蹖: 丕诏乇 讴爻蹖 亘乇 卮禺氐蹖鬲賴丕蹖 賵丕賯毓蹖 賵 鬲丕乇蹖禺蹖 鬲賲乇讴夭 讴賳丿貙听讴賲丿蹖 丕賱賴蹖 賲蹖 鬲賵丕賳丿 亘賴 毓賳賵丕賳 蹖讴 亘蹖丕賳蹖賴 爻蹖丕爻蹖 賵 鬲賯賵蹖鬲 讴賳賳丿賴 丕爻鬲丿賱丕賱 賴丕蹖 丿丕賳鬲賴 丿乇 賲賵乇丿 囟乇賵乇鬲 賵噩賵丿 蹖讴 丕賲倬乇丕鬲賵乇 噩賴丕賳蹖 丿乇 乇賲 亘乇丕蹖 亘乇乇爻蹖 賯丿乇鬲 爻讴賵賱丕乇 倬丕倬 賴丕蹖蹖 賲丕賳賳丿 倬丕倬 亘賵賳蹖賮丕爻蹖賴 賴卮鬲賲貙 讴賴 賳蹖乇賳诏 賴丕蹖 丕賵 賲賳噩乇 亘賴 鬲亘毓蹖丿 丿丕賳鬲賴 卮丿賴 亘賵丿貨 鬲賮爻蹖乇 卮賵丿.
丿乇 亘乇丿丕卮鬲 丕禺賱丕賯蹖 丕夭 鬲賲孬蹖賱丕鬲貙听讴賲丿蹖 丕賱賴蹖听倬蹖卮乇賮鬲 賲毓賳賵蹖 夭丕卅乇丕賳 乇丕貙 丕夭 爻胤丨 丿乇讴 賲毓賳賵蹖 亘爻蹖丕乇 賲丨丿賵丿 丿乇 丕亘鬲丿丕 鬲丕 鬲兀蹖蹖丿 賵丕賯毓蹖 丕乇丕丿賴 禺丿丕 丿乇 倬丕蹖丕賳貙 賳卮丕賳 賲蹖 丿賴丿.听
丿乇 賳诏丕賴 賲匕賴亘蹖 亘賴 丕蹖賳 丕卮毓丕乇 貙 丕蹖賳 讴鬲丕亘 賲賳毓讴爻 讴賳賳丿賴鈥屰� 鬲丕乇蹖禺 賳噩丕鬲 亘卮乇 丕爻鬲 讴賴 丿乇 讴鬲丕亘 賲賯丿爻 賲爻蹖丨蹖丕賳 亘蹖锟斤拷賳 卮丿賴 丕爻鬲 . 賵 乇丕賴賳賲丕蹖蹖 丕爻鬲 亘乇丕蹖 乇賵卮 丿乇爻鬲 夭賳丿诏蹖 賵 丕氐賱丕丨 亘賳丿诏丕賳 .
丿乇 丌禺乇 鬲乇噩賲賴 讴鬲丕亘 賵 倬丕賳賵蹖爻 賴丕 亘蹖賳賴丕蹖鬲 噩匕丕亘 賵 讴丕賲賱 賴爻鬲賳丿. 賲賳 鬲乇噩賲賴 丿蹖诏乇蹖 丕夭 讴鬲丕亘 賳禺賵丕賳丿賴 丕賲 賵 卮禺氐丕 亘毓蹖丿 賲蹖鈥屫з嗁� 鬲乇噩賲賴 丕蹖 夭蹖亘丕鬲乇 賵 丿賯蹖賯 鬲乇 丕夭 丕蹖賳 賴賲 亘鬲賵丕賳 蹖丕賮鬲.
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禺蹖賱蹖 禺蹖賱蹖 亘賴 禺賵丿賲 丕賮鬲禺丕乇 賲蹖讴賳賲 讴賴 讴鬲丕亘 丕賵賱 丕夭 丕蹖賳 爻賴 诏丕賳賴 乇賵 禺賵賳丿賲 賵 丿乇 讴賳丕乇卮 倬乇賵跇賴 賴丕蹖 丿蹖诏賴鈥屬� 乇賵 賴賲 倬蹖卮 賲蹖亘乇賲. 鬲噩乇亘賴 毓賲蹖賯丕 毓丕卮賯丕賳賴 賵 卮蹖乇蹖賳蹖 亘賵丿 賵 賴爻鬲.
丕夭 賮 毓夭蹖夭賲 讴賴 丿蹖诏賴 賲賳賵 賳賲蹖禺賵賳賴 賴賲 鬲卮讴乇 賲蹖讴賳賲 亘禺丕胤乇 丕蹖賳 讴鬲丕亘 亘蹖賳賴丕蹖鬲 夭蹖亘丕. 噩夭賵 鄣 讴鬲丕亘 亘爻蹖丕乇 亘丕丕乇夭卮 夭賳丿诏蹖賲賴 賵 賵丕賯毓丕 丕夭 丿丕卮鬲賳卮 禺賵卮丨丕賱 賵 賲賮鬲禺乇賲.
賯丿乇鬲 毓卮賯 鬲賵 趩賳丕賳 賳蹖乇賵蹖蹖 卮诏賮鬲 丕夭 匕賵賯 亘賴 丿丕賳鬲賴 亘禺卮蹖丿 讴賴 爻乇丕賳噩丕賲 鬲賵丕賳爻鬲 丿乇 賵氐賮鬲 卮毓乇蹖 亘爻乇丕蹖丿 讴賴 倬蹖卮 丕夭 丌賳 亘乇丕蹖 賴蹖趩 夭賳蹖 爻乇賵丿賴 賳卮丿賴 亘賵丿 .
讴賲丿蹖 丕賱賴蹖 蹖讴 卮毓乇 丨賲丕爻蹖 賲毓乇賵賮 賯乇賵賳 賵爻胤丕蹖蹖 丕蹖鬲丕賱蹖丕蹖蹖 丕爻鬲 讴賴 賯賱賲乇賵賴丕蹖 夭賳丿诏蹖 倬爻 丕夭 賲乇诏 乇丕 亘賴 鬲氐賵蹖乇 賲蹖 讴卮丿. 丕蹖賳 丿丕爻鬲丕賳 爻賮乇 丌賳 噩賴丕賳蹖 丿丕賳鬲賴 丕爻鬲 讴賴 丿乇 毓乇囟 丿賴 乇賵夭 賵 亘賴 乇丕賴賳賲丕蹖蹖 賵蹖乇跇蹖賱(賲馗賴乇 毓賯賱) 賵 亘卅丕鬲乇蹖爻(賲馗賴乇 毓卮賯)氐賵乇鬲 賲蹖鈥屭屫必� .
丿丕爻鬲丕賳 賯爻賲鬲 丕賵賱 丕蹖賳 爻賮乇 讴賴 丿乇 讴鬲丕亘 丿賵夭禺 賳诏丕卮鬲賴 卮丿賴 丕爻鬲 丿乇 夭蹖乇夭賲蹖賳貙 蹖毓賳蹖 丿乇 馗賱賲丕鬲 胤蹖 賲蹖 卮賵丿. 丕蹖賳 丌賳 賯爻賲鬲蹖 丕夭 爻賮乇丕爻鬲 讴賴 亘賴 丿賵夭禺 賲乇亘賵胤 丕爻鬲貙 夭蹖乇丕 丿賵夭禺 丿丕賳鬲賴 丕夭 夭蹖乇 賯卮乇夭賲蹖賳 卮乇賵毓 賲蹖 卮賵丿 賵 亘賴 賳賯胤踿 賲乇讴夭蹖 讴乇踿 禺丕讴蹖 倬丕蹖丕賳 賲蹖 倬匕蹖乇丿 讴賴 丿乇 丌賳噩丕 卮蹖胤丕賳貙 賮乇賲丕賳乇賵丕蹖 丿蹖丕乇 乇賳噩 貙 賲讴丕賳 丿丕乇丿 賵 賯賱賲乇賵 毓馗賷賲 禺賵丿 乇丕 丕丿丕乇賴 賲蹖鈥屭┵嗀�.
丕蹖賳 丨賮乇踿 毓馗賷賲 讴賴 丿賵夭禺 賳丕賲 丿丕乇丿貙 禺丕賳賴 馗賱賲鬲 賵 爻乇賲丕 賵 讴蹖賳賴 賵 噩賴賱 貙 鬲乇爻 賵 囟毓賮 賵 夭卮鬲蹖 蹖毓賳蹖 賴賲賴 丌賳 丌孬丕乇 卮乇 丕爻鬲 讴賴 丕夭 噩丕賳亘 丕賴乇賲賳 賲蹖鈥屫③屫� 賵 亘賴 丕賴乇賲賳 亘丕夭 賲蹖鈥屭必�. 賵賱蹖 丌賳趩賴 亘丕 賲丕賴蹖鬲 丿賵夭禺 爻乇卮鬲賴 卮丿賴 賵 丿乇 賵丕賯毓 鬲丕乇 賵 倬賵丿 丌賳 乇丕 爻丕禺鬲賴 丕爻鬲貙 亘蹖鈥屫з呟屫� 蹖毓賳蹖 賲丨乇賵賲蹖鬲 丕亘丿蹖 丕夭丕賲蹖丿 丕爻鬲.
鬲賲丕賲 诏賳丕賴丕賳 賵 诏賳丕賴讴丕乇丕賳 乇賵蹖 亘丿蹖賳 丿賵夭禺 丿丕乇賳丿. 賴乇賯丿乇 诏賳丕賴蹖 爻賳诏蹖賳 鬲乇 亘丕卮丿貙 氐丕丨亘 丌賳 倬丕蹖蹖賳 鬲乇 賲蹖鈥屫з佖�. 鬲丕 賳賵亘鬲 亘賴 蹖賴賵丿丕 賲蹖鈥屫必池� 讴賴 丕夭 賮乇胤 爻賳诏蹖賳蹖 诏賳丕賴 丿乇鈥� 讴丕賲 卮蹖胤丕賳 噩丕卅 丿丕乇丿. 丿乇 丕蹖賳 噩賴賳賲 诏賳丕賴讴丕乇丕賳 亘賴 丨爻亘 丕賳賵丕毓 诏賳丕賴丕賳 禺賵丿 亘賴 丿爻鬲賴 賴丕蹖 賲禺鬲賱賮 诏賳丕賴讴丕乇丕賳 鬲賯爻蹖賲 卮丿賴 賵 亘賴 丿爻鬲 丕賳賵丕毓 讴蹖賮乇賴丕 賵毓賯丕亘鈥屬囏� 爻倬乇丿賴 卮丿蹠丕賳丿 讴賴 爻禺鬲鈥屫臂屬� 丕賳鈥屬囏� 馗賱賲丕鬲 賲胤賱賯 賵 爻乇賲丕蹖 丕亘丿蹖 胤亘賯踿 賳賴賲貙 蹖毓賳蹖 丌賳噩丕爻鬲 讴賴 卮蹖胤丕賳 丿乇 賵爻胤 丌賳 賲讴丕賳 丿丕乇丿. 丕蹖賳 馗賱賲丕鬲 賵 爻乇賲丕 賲馗賴乇丕賳讴丕乇 讴丕賲賱 毓賵丕胤賮 丕賳爻丕賳蹖 賵 賲丨亘鬲 賵 毓卮賯 丕夭 胤乇賮 诏賳丕賴讴丕乇丕賳蹖 丕爻鬲 讴賴 亘丿蹖賳 賵乇胤賴 丕賮鬲丕丿賴鈥屫з嗀� 鬲丕 胤亘賯 賯丕賳賵賳 鬲丕賵丕賳 讴賴 賯丕賳賵賳 讴賱蹖 賵 丕氐賱蹖 噩賴賳賲 丕爻鬲 賲噩丕夭丕鬲 亘賷賳賳丿 .
爻賮乇 丿賵夭禺 乇丕 氐乇賮賳馗乇 丕夭 丨賵丕丿孬 馗丕賴乇蹖 丌賳 賲蹖鈥屫堌з� 趩賳蹖賳 禺賱丕氐賴 讴乇丿:
丿丕賳鬲賴 (賲馗賴乇 賳賵毓 亘卮乇) 讴賴 丿乇 卮丕賴乇丕賴 夭賳丿诏蹖 爻乇诏乇賲 丨乇讴鬲 丕爻鬲 丿乇賳賷賲踿 丕蹖賳 乇丕賴 賳丕诏賴丕賳 禺賵丿 乇丕 丿乇 噩賳诏賱蹖 鬲丕乇蹖讴 賵 賲賵丨卮 賲蹖 蹖丕亘丿 (馗賱賲鬲 禺胤丕 賵 诏賳丕賴讴丕乇蹖). 丕丨爻丕爻 賲蹖 讴賳丿 亘蹖 丌賳讴賴 禺賵丿 賲鬲賵噩賴 卮丿賴 亘丕卮丿 丕夭 噩丕丿賴 亘賴 丿賵乇丕賮鬲丕丿賴 乇丕賴 丕爻鬲 乇丕诏賲 讴乇丿賴 丕爻鬲. 丿乇蹖賳 噩賳诏賱 鬲丕乇蹖讴 讴賴 丕夭 賴蹖趩 噩丕賳亘 賮乇賵睾 禺賵乇卮蹖丿(丌乇丕賲卮 賵 倬丕讴蹖) 亘丿丕賳 乇禺賳賴 賳賲蹖鈥屫堌з嗀� 讴乇丿 丿丕賳鬲賴 禺賵丿 乇丕 爻禺鬲 倬乇蹖卮丕賳 賵 賳賵賲賷丿 賲蹖鈥屰屫жㄘ�.
賵蹖 賳丕诏賴丕賳 丿乇 倬蹖卮 乇賵蹖 禺賵丿 賵賱蹖 丿乇 賮丕氐賱賴 丕蹖 丿賵乇貙 丿丕賲賳賴 鬲倬賴 丕蹖 乇丕 賲蹖鈥屫ㄛ屬嗀� 讴賴 亘丕 賮乇賵睾 禺賵乇卮蹖丿 乇賵卮賳 卮丿賴 丕爻鬲. 丕蹖賳 鬲倬賴 讴賵賴 爻毓丕丿鬲 賵 乇爻鬲诏丕乇蹖 賵 丕蹖賳 賮乇賵睾貙 賮乇賵睾 氐賮丕蹖 丕賱賴蹖 爻鬲. 丿丕賳鬲賴 亘丕 卮賵賯 乇賵 亘丿丕賳 爻賵 賲蹖鈥屬嗁囏� 賵賱蹖 賲蹖鈥屫ㄛ屬嗀� 丕蹖賳 賲爻蹖乇 爻禺鬲 賵 氐毓亘 丕賱毓亘賵乇 丕爻鬲 賵 賵蹖 卮賴丕賲鬲 噩賴丕丿 亘丕 賳賮爻 乇丕 賳丿丕乇丿. 丿乇 丕蹖賳 賴賳诏丕賲 賵蹖乇跇蹖賱 賲馗賴乇 賲賳胤賯 賵 毓賯賱 亘卮乇蹖 亘賴 讴賲讴 丕賵 賲蹖鈥屫③屫� 鬲丕 丕賵 乇丕 丕夭 賵丕丿蹖 诏賳丕賴 (丿賵夭禺) 亘賴 爻乇賲賳夭賱 倬卮蹖賲丕賳蹖(亘乇夭禺) 賵 爻倬爻 爻毓丕丿鬲(亘賴卮鬲) 亘乇爻丕賳丿...
丿乇 爻乇丕爻乇 丕蹖賳 讴鬲丕亘貙 丿丕賳鬲賴 丕夭 賳賲丕丿賴丕蹖 丕爻丕胤蹖乇蹖 賵 丿蹖賳蹖 亘乇丕蹖 丕賱賯丕蹖 賲賮丕賴蹖賲 賲丿賳馗乇 禺賵丿 亘賴乇賴 噩爻鬲賴 丕爻鬲 . 亘賴 胤賵乇 禺賱丕氐賴 賲蹖鈥屫堌з� 爻賴 賳賵毓 鬲賮爻蹖乇 丕夭 鬲賲孬蹖賱 賴丕 賵 賳賲丕丿賴丕蹖 丕蹖賳 丕卮毓丕乇 丿乇讴 讴乇丿 賵 丌賳 乇丕 亘賴 乇賵卮賴丕蹖 賲禺鬲賱賮 禺賵丕賳丿:
亘乇丿丕卮鬲 鬲丕乇蹖禺蹖: 丕诏乇 讴爻蹖 亘乇 卮禺氐蹖鬲賴丕蹖 賵丕賯毓蹖 賵 鬲丕乇蹖禺蹖 鬲賲乇讴夭 讴賳丿貙听讴賲丿蹖 丕賱賴蹖 賲蹖 鬲賵丕賳丿 亘賴 毓賳賵丕賳 蹖讴 亘蹖丕賳蹖賴 爻蹖丕爻蹖 賵 鬲賯賵蹖鬲 讴賳賳丿賴 丕爻鬲丿賱丕賱 賴丕蹖 丿丕賳鬲賴 丿乇 賲賵乇丿 囟乇賵乇鬲 賵噩賵丿 蹖讴 丕賲倬乇丕鬲賵乇 噩賴丕賳蹖 丿乇 乇賲 亘乇丕蹖 亘乇乇爻蹖 賯丿乇鬲 爻讴賵賱丕乇 倬丕倬 賴丕蹖蹖 賲丕賳賳丿 倬丕倬 亘賵賳蹖賮丕爻蹖賴 賴卮鬲賲貙 讴賴 賳蹖乇賳诏 賴丕蹖 丕賵 賲賳噩乇 亘賴 鬲亘毓蹖丿 丿丕賳鬲賴 卮丿賴 亘賵丿貨 鬲賮爻蹖乇 卮賵丿.
丿乇 亘乇丿丕卮鬲 丕禺賱丕賯蹖 丕夭 鬲賲孬蹖賱丕鬲貙听讴賲丿蹖 丕賱賴蹖听倬蹖卮乇賮鬲 賲毓賳賵蹖 夭丕卅乇丕賳 乇丕貙 丕夭 爻胤丨 丿乇讴 賲毓賳賵蹖 亘爻蹖丕乇 賲丨丿賵丿 丿乇 丕亘鬲丿丕 鬲丕 鬲兀蹖蹖丿 賵丕賯毓蹖 丕乇丕丿賴 禺丿丕 丿乇 倬丕蹖丕賳貙 賳卮丕賳 賲蹖 丿賴丿.听
丿乇 賳诏丕賴 賲匕賴亘蹖 亘賴 丕蹖賳 丕卮毓丕乇 貙 丕蹖賳 讴鬲丕亘 賲賳毓讴爻 讴賳賳丿賴鈥屰� 鬲丕乇蹖禺 賳噩丕鬲 亘卮乇 丕爻鬲 讴賴 丿乇 讴鬲丕亘 賲賯丿爻 賲爻蹖丨蹖丕賳 亘蹖锟斤拷賳 卮丿賴 丕爻鬲 . 賵 乇丕賴賳賲丕蹖蹖 丕爻鬲 亘乇丕蹖 乇賵卮 丿乇爻鬲 夭賳丿诏蹖 賵 丕氐賱丕丨 亘賳丿诏丕賳 .
丿乇 丌禺乇 鬲乇噩賲賴 讴鬲丕亘 賵 倬丕賳賵蹖爻 賴丕 亘蹖賳賴丕蹖鬲 噩匕丕亘 賵 讴丕賲賱 賴爻鬲賳丿. 賲賳 鬲乇噩賲賴 丿蹖诏乇蹖 丕夭 讴鬲丕亘 賳禺賵丕賳丿賴 丕賲 賵 卮禺氐丕 亘毓蹖丿 賲蹖鈥屫з嗁� 鬲乇噩賲賴 丕蹖 夭蹖亘丕鬲乇 賵 丿賯蹖賯 鬲乇 丕夭 丕蹖賳 賴賲 亘鬲賵丕賳 蹖丕賮鬲.
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禺蹖賱蹖 禺蹖賱蹖 亘賴 禺賵丿賲 丕賮鬲禺丕乇 賲蹖讴賳賲 讴賴 讴鬲丕亘 丕賵賱 丕夭 丕蹖賳 爻賴 诏丕賳賴 乇賵 禺賵賳丿賲 賵 丿乇 讴賳丕乇卮 倬乇賵跇賴 賴丕蹖 丿蹖诏賴鈥屬� 乇賵 賴賲 倬蹖卮 賲蹖亘乇賲. 鬲噩乇亘賴 毓賲蹖賯丕 毓丕卮賯丕賳賴 賵 卮蹖乇蹖賳蹖 亘賵丿 賵 賴爻鬲.
丕夭 賮 毓夭蹖夭賲 讴賴 丿蹖诏賴 賲賳賵 賳賲蹖禺賵賳賴 賴賲 鬲卮讴乇 賲蹖讴賳賲 亘禺丕胤乇 丕蹖賳 讴鬲丕亘 亘蹖賳賴丕蹖鬲 夭蹖亘丕. 噩夭賵 鄣 讴鬲丕亘 亘爻蹖丕乇 亘丕丕乇夭卮 夭賳丿诏蹖賲賴 賵 賵丕賯毓丕 丕夭 丿丕卮鬲賳卮 禺賵卮丨丕賱 賵 賲賮鬲禺乇賲.
March 8, 2020
丿乇亘丕亘 鬲乇噩賲賴
趩賳丿亘丕乇蹖 丿乇 讴鬲丕亘賮乇賵卮蹖鈥屬囏� 鬲乇噩賲賴鈥屬囏й� 賲禺鬲賱賮蹖 丕夭 丌賳 丿蹖丿賴 亘賵丿賲. 卮賴乇鬲 讴鬲丕亘 賴乇 亘丕乇 鬲乇睾蹖亘賲 賲蹖鈥屭┴必� 讴賴 賳诏丕賴蹖 亘賴 丌賳 亘蹖賳丿丕夭賲貙 丕賲丕 亘賴鈥屫焚堌� 讴賱蹖 亘乇丿丕卮鬲蹖 丕夭 噩賲賱丕鬲 賳賲蹖鈥屭┴必� 賵 賲賳馗賵乇卮 乇丕 賳賲蹖鈥屬佡囐呟屫呚� 丌賳 賲賵賯毓 鬲乇噩賲踿 丌賯丕蹖 卮賮丕 乇丕 賳丿蹖丿賴 亘賵丿賲 賵 賮賯胤 亘丕 鬲乇噩賲踿 讴夭丕夭蹖 賵 丌賯丕蹖 賲蹖乇毓亘丕爻蹖 丌卮賳丕 亘賵丿賲貨 趩賳丿亘丕乇 賵乇賯 夭丿賳 丌賳鈥屬囏� 賴乇亘丕乇 毓賱丕賯賴鈥屫з� 乇丕 亘賴 賲胤丕賱毓踿 丕孬乇 讴賵乇 讴乇丿賴 亘賵丿貙 亘賳丕亘賴 丕蹖賳讴賴 亘乇丕蹖 賲賳 夭蹖亘丕蹖蹖 丕丿亘蹖 丿乇 丕賵賱賵蹖鬲 賯乇丕乇 賳丿丕卮鬲 賵 鬲賲丕蹖賱 丿丕卮鬲賲 丕孬乇 乇丕 讴丕賲賱 亘賮賴賲賲 賵 丕蹖賳 丿賵 鬲乇噩賲賴 賮丕賯丿 丕蹖賳 賵蹖跇诏蹖 亘賵丿賳丿貨 丕蹖賳讴賴 讴丿丕賲 亘乇诏乇丿丕賳貙 亘賴鬲乇蹖賳 诏夭蹖賳賴 亘乇丕蹖 賲胤丕賱毓踿 丕蹖賳 賲噩賲賵毓賴 卮毓乇 丕蹖鬲丕賱蹖丕蹖蹖 丕爻鬲貙 亘爻鬲诏蹖 亘賴 賳诏丕賴 禺賵丕賳賳丿賴 丿丕乇丿. 亘乇丕蹖 賲賳 讴賴 丌卮賳丕蹖蹖 讴丕賲賱蹖 亘丕 丕爻丕胤蹖乇 賵 卮禺氐蹖鬲鈥屬囏й� 蹖賵賳丕賳 賵 乇賵賲 賵 賴賲趩賳蹖賳 卮禺氐蹖鬲鈥屬囏й� 賲毓丕氐乇 卮丕毓乇 賳丿丕卮鬲賲 (讴賴 鬲賯乇蹖亘丕賸 鬲賲丕賲蹖 卮禺氐蹖鬲鈥屬囏й� 讴鬲丕亘 丕夭 丌賳鈥屬囏� 爻乇趩卮賲賴 賲蹖鈥屭屫辟嗀�)貙 丕蹖賳讴賴 爻丕禺鬲丕乇 丕丿亘蹖 卮毓乇 鬲丕 趩賴 丨丿 賳诏丕賴 丿丕卮鬲賴 卮丿賴 丕爻鬲貙 丿乇 丕賵賱賵蹖鬲 賳禺爻鬲 賳蹖爻鬲. 丌賳趩賴 賲賴賲鬲乇 丕爻鬲貙 賲鬲賳蹖 丕丿亘蹖 賵 丿乇 毓蹖賳 丨丕賱 賯丕亘賱 賮賴賲 亘丕卮丿 鬲丕 亘鬲賵丕賳賲 賲賮賴賵賲蹖 乇丕 讴賴 賳賵蹖爻賳丿賴 丿乇 鬲賱丕卮 亘乇丕蹖 丕賳鬲賯丕賱 丌賳 丕爻鬲貙 丿乇蹖丕賮鬲 讴賳賲貨 亘賳丕亘乇丕蹖賳 卮丕蹖丿 亘乇丕蹖 讴爻蹖 讴賴 丕胤賱丕毓丕鬲 賳爻亘鬲丕賸 禺賵亘蹖 丕夭 卮禺氐蹖鬲鈥屬囏й� 丿丕爻鬲丕賳 (讴賴 亘乇诏乇賮鬲賴 丕夭 丕爻丕胤蹖乇 賵 鬲丕乇蹖禺 蹖賵賳丕賳 賵 乇賵賲 賵 賴賲趩賳蹖賳 爻乇卮賳丕爻丕賳 賲毓丕氐乇 丿丕賳鬲賴 亘賵丿賴鈥屫з嗀�) 鬲乇噩賲踿 卮丕毓乇丕賳賴鈥屫� 丿蹖诏乇 賲鬲乇噩賲丕賳 賲賳丕爻亘 亘丕卮丿貙 丕賲丕 亘乇丕蹖 丕賮乇丕丿蹖 趩賵賳 賲賳 亘賴鬲乇蹖賳 丕賳鬲禺丕亘 賴賲蹖賳 鬲乇噩賲賴 丕爻鬲貨 丌賯丕蹖 卮賮丕 鬲丕 噩丕蹖蹖 讴賴 鬲賵丕賳爻鬲賴 鬲乇噩賲賴 乇丕 丕丿亘蹖 爻丕禺鬲賴貙 毓賱丕賵賴 亘乇 丕蹖賳讴賴 亘丕 倬丕賳賵卮鬲鈥屬囏ж� 賲賯丿賲丕鬲 賵 鬲賵囟蹖丨丕鬲 丕亘鬲丿丕蹖 賴乇 爻乇賵丿貙 爻亘亘 卮丿賴 讴賴 賴賲 丕爻鬲毓丕乇賴鈥屬囏� 賵 丕卮丕乇丕鬲 孬賯蹖賱 賵 夭蹖丕丿 丕卮毓丕乇 丿乇讴 卮賵賳丿 賵 賴賲 丕夭 夭蹖亘丕蹖蹖 讴鬲丕亘 賳賴丕蹖鬲 賱匕鬲 乇丕 亘乇丿.
丕诏乇 鬲賵丕賳爻鬲蹖丿 趩丕倬 賯亘賱 丕賳賯賱丕亘 鬲賴蹖賴 讴賳蹖丿貙 讴賴 賳賯丕卮蹖鈥屬囏й� 丌賳 爻丕賳爻賵乇 賳卮丿賴 亘丕卮賳丿 (丨丿賵丿 賳氐賮蹖貙 讴賴 丕賱亘鬲賴 賲鬲賳 讴鬲丕亘 禺賵卮亘禺鬲丕賳賴 鬲睾蹖蹖乇蹖 丿丕丿賴 賳卮丿賴 丕爻鬲) 賵 丕蹖賳讴賴 亘賯蹖踿 丌孬丕乇賽 诏賵爻鬲丕賵 丿賵乇賴 乇丕 丿乇亘丕亘賽 讴賲丿蹖 乇丕 丕夭 爻丕蹖鬲 賵蹖讴蹖 丌乇鬲 胤蹖 禺賵丕賳卮 賴乇 爻乇賵丿 亘乇乇爻蹖 讴賳蹖丿 讴賴 丿蹖丿賳卮丕賳 亘爻蹖 丿賱賳卮蹖賳 丕爻鬲 賵 亘賴 鬲氐賵蹖乇爻丕夭蹖 賴賲 讴賲讴 賲蹖鈥屭┵嗁嗀�
丿乇亘丕亘 禺賵丿 丕孬乇
讴丕乇 賲賳 賳蹖爻鬲 讴賴 趩賳蹖賳 讴鬲丕亘蹖 乇丕 賳賯丿 讴賳賲 賵 丕蹖乇丕丿蹖 亘賴 丌賳 賵丕乇丿 讴賳賲 蹖丕 噩丕蹖蹖 乇丕 賳賯胤踿 毓胤賮 丕孬乇 亘賳丕賲賲貨 亘丕 丕蹖賳 賵噩賵丿貙 诏賮鬲賳 趩賳丿 賳讴鬲賴 亘乇丕蹖賲 賲賴賲 丕爻鬲:
1. 亘乇丕爻鬲蹖 賳亘賵睾 丿丕賳鬲賴 卮丕蹖爻鬲踿 爻鬲丕蹖卮 丕爻鬲 讴賴 鬲賵丕賳爻鬲賴 賴賳乇賲賳丿丕賳賴 丕爻丕胤蹖乇 睾乇亘蹖丕賳 乇丕 亘丕 丿丕爻鬲丕賳鈥屬囏й� 丿蹖賳蹖 賲爻蹖丨蹖鬲 亘蹖丕賲蹖夭丿 賵 丿乇 胤乇丕丨蹖 噩賴賳賲 亘賴鈥屭┴ж� 亘亘乇丿貨 鬲賵氐蹖賮鈥屬囏й屰� 讴賴 卮丿賴鈥屫з嗀� 賳蹖夭 亘蹖鈥屬嗀港屫辟嗀�.
2. 爻賲亘賱蹖爻賲蹖 讴賴 亘賴鈥屭┴ж� 亘乇丿賴 丕爻鬲 丿丕爻鬲丕賳 乇丕 亘爻蹖 夭蹖亘丕鬲乇 讴乇丿賴貨 亘乇丕蹖 賲賳 賴賲 丿丕爻鬲丕賳 馗丕賴乇蹖 噩匕丕亘 亘賵丿 賵 賴賲 丌賳趩賴 讴賴 丕夭 丕蹖賳 賳賲丕丿賴丕 賳蹖夭 賲賮賴賵賲 賲蹖鈥屫促堌�.
3. 乇賵丕蹖鬲鈥屬囏й� 賲噩夭丕蹖蹖 讴賴 丿乇 禺賱丕賱 爻賮乇 丕氐賱蹖 亘蹖丕賳 賲蹖鈥屫促堎嗀� 亘賴 禺賵丿蹖賽 禺賵丿 卮丕賴讴丕乇蹖賳丿. 亘賴鈥屬堐屭樫� 丿丕爻鬲丕賳 毓丕卮賯丕賳踿 倬丕卅賵賱賵 賵 賮乇丕賳趩爻讴丕 賵 丿丕爻鬲丕賳 蹖賵诏賵賱蹖賳賵 賵 賮乇夭賳丿丕賳卮 讴賴 亘乇丕爻鬲蹖 禺賵丕賳賳丿賴 乇丕 睾賲诏蹖賳 賲蹖鈥屭┵嗀�.
4. 鬲賳丕爻亘蹖 讴賴 丿丕賳鬲賴 賲蹖丕賳 噩乇賲 賵 賲噩丕夭丕鬲 賴賲 賲丕蹖踿 卮诏賮鬲蹖鈥屫з嗀�.
爻禺鬲蹖 賲胤丕賱毓賴:
丕诏乇 丕夭 夭丕賵蹖踿 鬲毓氐亘 丿蹖賳蹖 亘賴 丕孬乇 賳诏乇蹖爻鬲賴 賳卮賵丿貙 亘賴 賯胤毓蹖鬲 丕孬乇蹖 亘爻蹖丕乇 丿賵爻鬲鈥屫ж簇嗃屫池� 賵 賲禺丕胤亘 乇丕 禺爻鬲賴 賳賲蹖鈥屭┵嗀� 丕賲丕 亘丕蹖丿 丿乇 賳馗乇 丿丕卮鬲 讴賴 丿乇 亘蹖卮鬲乇 爻乇賵丿鈥屬囏� 丕诏乇 丕胤賱丕毓丕鬲 讴丕賮蹖 丿乇 匕賴賳 禺賵丕賳賳丿賴 賳亘丕卮丿貙 丕夭 丕卮毓丕乇卮 丌賳 趩賳丕賳 趩蹖夭蹖 丿乇讴 賳禺賵丕賴丿 讴乇丿 (蹖丕 丨丿丕賯賱 亘乇丕蹖 賲賳 趩賳蹖賳 亘賵丿!)貨 亘賴鈥屬囐呟屬� 爻亘亘 鬲賵氐蹖賴 賲蹖鈥屭┵嗁� 讴賴 賴乇 爻乇賵丿 丨丿丕賯賱 丿賵 賲乇鬲亘賴 賲胤丕賱毓賴 卮賵丿貙 蹖讴亘丕乇 鬲賳賴丕 丕夭 賳诏丕賴 丕丿亘蹖 賵 亘丕 丿賯鬲 丿乇 鬲賵氐蹖賮丕鬲 賵 夭蹖亘丕蹖蹖 丕丿亘蹖 丕孬乇 賵 亘丕乇蹖 丿蹖诏乇 亘賴鈥屬囐呚辟� 鬲賵囟蹖丨丕鬲 賲鬲乇噩賲 賲丨鬲乇賲賽 毓夭蹖夭 賵 亘乇丕蹖 丿乇讴 賳爻亘蹖 丕孬乇! 賳爻亘蹖貙 丕夭 丕蹖賳 賲賳馗乇 讴賴 賴賳賵夭 鬲賲丕賲蹖 丕卮毓丕乇 丿丕賳鬲賴 亘乇丕蹖 賲鬲禺氐氐丕賳 丿丕賳鬲賴鈥屫促嗀ж� 賳蹖夭 賮賴賲 賳卮丿賴鈥屫з嗀� 讴賴 蹖讴 禺賵丕賳賳丿踿 毓丕丿蹖 亘乇丕蹖 賳禺爻鬲蹖賳 亘丕乇 亘鬲賵丕賳丿 鬲賲丕賲 丕孬乇 乇丕 亘賮賴賲丿.
!乇丕 禺蹖乇 賵 乇丨賲鬲 丿賴丕丿 Course Hero 禺丿丕賵賳丿
丿賵爻鬲丕賳! 賲賳 丕蹖賳 讴丕賳丕賱 蹖賵鬲蹖賵亘蹖 乇丕 丿乇 禺賱丕賱 賲胤丕賱毓踿 賴賲蹖賳 丿賵夭禺 讴卮賮 讴乇丿賲 賵 亘乇丕爻鬲蹖 禺丿丕賵賳丿诏丕乇賽 賳丕賲賵噩賵丿貙 丿丕賳鬲賴 乇丕 讴賴 爻亘亘 禺蹖乇 卮丿 讴賴 亘丕 丕蹖賳 讴丕賳丕賱 丌卮賳丕 卮賵賲 賵 賴賲趩賳蹖賳 爻丕夭賳丿诏丕賳 丕蹖賳 讴丕賳丕賱 乇丕 亘乇丕蹖 讴丕乇爻鬲丕賳卮丕賳 禺蹖乇 丿賴丿! 丕蹖賳 讴丕賳丕賱 賲丨鬲乇賲 亘丕 賮蹖賱賲鈥屬囏й� 讴賵鬲丕賴 丿賵 鬲丕 倬賳噩 丿賯蹖賯賴鈥屫й屫� 亘賴 爻乇丕睾 丌孬丕乇 丕丿亘蹖 亘夭乇诏 噩賴丕賳 賲蹖鈥屫辟堌� 賵 丿丕爻鬲丕賳 丌賳賴丕 乇丕 亘賴鈥屫焚堌� 讴賱蹖 ( 賵 亘丕 鬲氐賵蹖乇爻丕夭蹖 讴賴 亘爻蹖 賲賴賲 丕爻鬲!) 鬲賵囟蹖丨 賲蹖鈥屫囏� 賵 诏丕賴蹖 鬲賮爻蹖乇 賳蹖夭 賲蹖鈥屭┵嗀�! 丨爻賳 丌賳 丕蹖賳 丕爻鬲 讴賴 賲蹖鈥屫堌з� 亘毓囟蹖 丌孬丕乇 乇丕 讴賴 賯氐丿 賲胤丕賱毓賴 賳丿丕乇蹖丿 乇丕 丕夭 丕蹖賳 讴丕賳丕賱 倬蹖丿丕 讴賳蹖丿 賵 賮蹖賱賲鈥屬囏й屫� 乇丕 亘亘蹖賳蹖丿貙 蹖丕 亘乇丕蹖 賲乇賵乇 蹖讴 讴鬲丕亘 丕賲丕 丕夭 乇丕賴蹖 丿蹖诏乇 丕夭 丌賳 丕爻鬲賮丕丿賴 讴賳蹖丿. 丕蹖賳噩丕 賱蹖賳讴 讴丕賳丕賱 賵 賴賲趩賳蹖賳 丿賵夭禺 丿丕賳鬲賴 乇丕 賯乇丕乇 丿丕丿賴鈥屫з�.
丿賵夭禺:
讴丕賳丕賱:
趩賳丿亘丕乇蹖 丿乇 讴鬲丕亘賮乇賵卮蹖鈥屬囏� 鬲乇噩賲賴鈥屬囏й� 賲禺鬲賱賮蹖 丕夭 丌賳 丿蹖丿賴 亘賵丿賲. 卮賴乇鬲 讴鬲丕亘 賴乇 亘丕乇 鬲乇睾蹖亘賲 賲蹖鈥屭┴必� 讴賴 賳诏丕賴蹖 亘賴 丌賳 亘蹖賳丿丕夭賲貙 丕賲丕 亘賴鈥屫焚堌� 讴賱蹖 亘乇丿丕卮鬲蹖 丕夭 噩賲賱丕鬲 賳賲蹖鈥屭┴必� 賵 賲賳馗賵乇卮 乇丕 賳賲蹖鈥屬佡囐呟屫呚� 丌賳 賲賵賯毓 鬲乇噩賲踿 丌賯丕蹖 卮賮丕 乇丕 賳丿蹖丿賴 亘賵丿賲 賵 賮賯胤 亘丕 鬲乇噩賲踿 讴夭丕夭蹖 賵 丌賯丕蹖 賲蹖乇毓亘丕爻蹖 丌卮賳丕 亘賵丿賲貨 趩賳丿亘丕乇 賵乇賯 夭丿賳 丌賳鈥屬囏� 賴乇亘丕乇 毓賱丕賯賴鈥屫з� 乇丕 亘賴 賲胤丕賱毓踿 丕孬乇 讴賵乇 讴乇丿賴 亘賵丿貙 亘賳丕亘賴 丕蹖賳讴賴 亘乇丕蹖 賲賳 夭蹖亘丕蹖蹖 丕丿亘蹖 丿乇 丕賵賱賵蹖鬲 賯乇丕乇 賳丿丕卮鬲 賵 鬲賲丕蹖賱 丿丕卮鬲賲 丕孬乇 乇丕 讴丕賲賱 亘賮賴賲賲 賵 丕蹖賳 丿賵 鬲乇噩賲賴 賮丕賯丿 丕蹖賳 賵蹖跇诏蹖 亘賵丿賳丿貨 丕蹖賳讴賴 讴丿丕賲 亘乇诏乇丿丕賳貙 亘賴鬲乇蹖賳 诏夭蹖賳賴 亘乇丕蹖 賲胤丕賱毓踿 丕蹖賳 賲噩賲賵毓賴 卮毓乇 丕蹖鬲丕賱蹖丕蹖蹖 丕爻鬲貙 亘爻鬲诏蹖 亘賴 賳诏丕賴 禺賵丕賳賳丿賴 丿丕乇丿. 亘乇丕蹖 賲賳 讴賴 丌卮賳丕蹖蹖 讴丕賲賱蹖 亘丕 丕爻丕胤蹖乇 賵 卮禺氐蹖鬲鈥屬囏й� 蹖賵賳丕賳 賵 乇賵賲 賵 賴賲趩賳蹖賳 卮禺氐蹖鬲鈥屬囏й� 賲毓丕氐乇 卮丕毓乇 賳丿丕卮鬲賲 (讴賴 鬲賯乇蹖亘丕賸 鬲賲丕賲蹖 卮禺氐蹖鬲鈥屬囏й� 讴鬲丕亘 丕夭 丌賳鈥屬囏� 爻乇趩卮賲賴 賲蹖鈥屭屫辟嗀�)貙 丕蹖賳讴賴 爻丕禺鬲丕乇 丕丿亘蹖 卮毓乇 鬲丕 趩賴 丨丿 賳诏丕賴 丿丕卮鬲賴 卮丿賴 丕爻鬲貙 丿乇 丕賵賱賵蹖鬲 賳禺爻鬲 賳蹖爻鬲. 丌賳趩賴 賲賴賲鬲乇 丕爻鬲貙 賲鬲賳蹖 丕丿亘蹖 賵 丿乇 毓蹖賳 丨丕賱 賯丕亘賱 賮賴賲 亘丕卮丿 鬲丕 亘鬲賵丕賳賲 賲賮賴賵賲蹖 乇丕 讴賴 賳賵蹖爻賳丿賴 丿乇 鬲賱丕卮 亘乇丕蹖 丕賳鬲賯丕賱 丌賳 丕爻鬲貙 丿乇蹖丕賮鬲 讴賳賲貨 亘賳丕亘乇丕蹖賳 卮丕蹖丿 亘乇丕蹖 讴爻蹖 讴賴 丕胤賱丕毓丕鬲 賳爻亘鬲丕賸 禺賵亘蹖 丕夭 卮禺氐蹖鬲鈥屬囏й� 丿丕爻鬲丕賳 (讴賴 亘乇诏乇賮鬲賴 丕夭 丕爻丕胤蹖乇 賵 鬲丕乇蹖禺 蹖賵賳丕賳 賵 乇賵賲 賵 賴賲趩賳蹖賳 爻乇卮賳丕爻丕賳 賲毓丕氐乇 丿丕賳鬲賴 亘賵丿賴鈥屫з嗀�) 鬲乇噩賲踿 卮丕毓乇丕賳賴鈥屫� 丿蹖诏乇 賲鬲乇噩賲丕賳 賲賳丕爻亘 亘丕卮丿貙 丕賲丕 亘乇丕蹖 丕賮乇丕丿蹖 趩賵賳 賲賳 亘賴鬲乇蹖賳 丕賳鬲禺丕亘 賴賲蹖賳 鬲乇噩賲賴 丕爻鬲貨 丌賯丕蹖 卮賮丕 鬲丕 噩丕蹖蹖 讴賴 鬲賵丕賳爻鬲賴 鬲乇噩賲賴 乇丕 丕丿亘蹖 爻丕禺鬲賴貙 毓賱丕賵賴 亘乇 丕蹖賳讴賴 亘丕 倬丕賳賵卮鬲鈥屬囏ж� 賲賯丿賲丕鬲 賵 鬲賵囟蹖丨丕鬲 丕亘鬲丿丕蹖 賴乇 爻乇賵丿貙 爻亘亘 卮丿賴 讴賴 賴賲 丕爻鬲毓丕乇賴鈥屬囏� 賵 丕卮丕乇丕鬲 孬賯蹖賱 賵 夭蹖丕丿 丕卮毓丕乇 丿乇讴 卮賵賳丿 賵 賴賲 丕夭 夭蹖亘丕蹖蹖 讴鬲丕亘 賳賴丕蹖鬲 賱匕鬲 乇丕 亘乇丿.
丕诏乇 鬲賵丕賳爻鬲蹖丿 趩丕倬 賯亘賱 丕賳賯賱丕亘 鬲賴蹖賴 讴賳蹖丿貙 讴賴 賳賯丕卮蹖鈥屬囏й� 丌賳 爻丕賳爻賵乇 賳卮丿賴 亘丕卮賳丿 (丨丿賵丿 賳氐賮蹖貙 讴賴 丕賱亘鬲賴 賲鬲賳 讴鬲丕亘 禺賵卮亘禺鬲丕賳賴 鬲睾蹖蹖乇蹖 丿丕丿賴 賳卮丿賴 丕爻鬲) 賵 丕蹖賳讴賴 亘賯蹖踿 丌孬丕乇賽 诏賵爻鬲丕賵 丿賵乇賴 乇丕 丿乇亘丕亘賽 讴賲丿蹖 乇丕 丕夭 爻丕蹖鬲 賵蹖讴蹖 丌乇鬲 胤蹖 禺賵丕賳卮 賴乇 爻乇賵丿 亘乇乇爻蹖 讴賳蹖丿 讴賴 丿蹖丿賳卮丕賳 亘爻蹖 丿賱賳卮蹖賳 丕爻鬲 賵 亘賴 鬲氐賵蹖乇爻丕夭蹖 賴賲 讴賲讴 賲蹖鈥屭┵嗁嗀�
丿乇亘丕亘 禺賵丿 丕孬乇
讴丕乇 賲賳 賳蹖爻鬲 讴賴 趩賳蹖賳 讴鬲丕亘蹖 乇丕 賳賯丿 讴賳賲 賵 丕蹖乇丕丿蹖 亘賴 丌賳 賵丕乇丿 讴賳賲 蹖丕 噩丕蹖蹖 乇丕 賳賯胤踿 毓胤賮 丕孬乇 亘賳丕賲賲貨 亘丕 丕蹖賳 賵噩賵丿貙 诏賮鬲賳 趩賳丿 賳讴鬲賴 亘乇丕蹖賲 賲賴賲 丕爻鬲:
1. 亘乇丕爻鬲蹖 賳亘賵睾 丿丕賳鬲賴 卮丕蹖爻鬲踿 爻鬲丕蹖卮 丕爻鬲 讴賴 鬲賵丕賳爻鬲賴 賴賳乇賲賳丿丕賳賴 丕爻丕胤蹖乇 睾乇亘蹖丕賳 乇丕 亘丕 丿丕爻鬲丕賳鈥屬囏й� 丿蹖賳蹖 賲爻蹖丨蹖鬲 亘蹖丕賲蹖夭丿 賵 丿乇 胤乇丕丨蹖 噩賴賳賲 亘賴鈥屭┴ж� 亘亘乇丿貨 鬲賵氐蹖賮鈥屬囏й屰� 讴賴 卮丿賴鈥屫з嗀� 賳蹖夭 亘蹖鈥屬嗀港屫辟嗀�.
2. 爻賲亘賱蹖爻賲蹖 讴賴 亘賴鈥屭┴ж� 亘乇丿賴 丕爻鬲 丿丕爻鬲丕賳 乇丕 亘爻蹖 夭蹖亘丕鬲乇 讴乇丿賴貨 亘乇丕蹖 賲賳 賴賲 丿丕爻鬲丕賳 馗丕賴乇蹖 噩匕丕亘 亘賵丿 賵 賴賲 丌賳趩賴 讴賴 丕夭 丕蹖賳 賳賲丕丿賴丕 賳蹖夭 賲賮賴賵賲 賲蹖鈥屫促堌�.
3. 乇賵丕蹖鬲鈥屬囏й� 賲噩夭丕蹖蹖 讴賴 丿乇 禺賱丕賱 爻賮乇 丕氐賱蹖 亘蹖丕賳 賲蹖鈥屫促堎嗀� 亘賴 禺賵丿蹖賽 禺賵丿 卮丕賴讴丕乇蹖賳丿. 亘賴鈥屬堐屭樫� 丿丕爻鬲丕賳 毓丕卮賯丕賳踿 倬丕卅賵賱賵 賵 賮乇丕賳趩爻讴丕 賵 丿丕爻鬲丕賳 蹖賵诏賵賱蹖賳賵 賵 賮乇夭賳丿丕賳卮 讴賴 亘乇丕爻鬲蹖 禺賵丕賳賳丿賴 乇丕 睾賲诏蹖賳 賲蹖鈥屭┵嗀�.
4. 鬲賳丕爻亘蹖 讴賴 丿丕賳鬲賴 賲蹖丕賳 噩乇賲 賵 賲噩丕夭丕鬲 賴賲 賲丕蹖踿 卮诏賮鬲蹖鈥屫з嗀�.
爻禺鬲蹖 賲胤丕賱毓賴:
丕诏乇 丕夭 夭丕賵蹖踿 鬲毓氐亘 丿蹖賳蹖 亘賴 丕孬乇 賳诏乇蹖爻鬲賴 賳卮賵丿貙 亘賴 賯胤毓蹖鬲 丕孬乇蹖 亘爻蹖丕乇 丿賵爻鬲鈥屫ж簇嗃屫池� 賵 賲禺丕胤亘 乇丕 禺爻鬲賴 賳賲蹖鈥屭┵嗀� 丕賲丕 亘丕蹖丿 丿乇 賳馗乇 丿丕卮鬲 讴賴 丿乇 亘蹖卮鬲乇 爻乇賵丿鈥屬囏� 丕诏乇 丕胤賱丕毓丕鬲 讴丕賮蹖 丿乇 匕賴賳 禺賵丕賳賳丿賴 賳亘丕卮丿貙 丕夭 丕卮毓丕乇卮 丌賳 趩賳丕賳 趩蹖夭蹖 丿乇讴 賳禺賵丕賴丿 讴乇丿 (蹖丕 丨丿丕賯賱 亘乇丕蹖 賲賳 趩賳蹖賳 亘賵丿!)貨 亘賴鈥屬囐呟屬� 爻亘亘 鬲賵氐蹖賴 賲蹖鈥屭┵嗁� 讴賴 賴乇 爻乇賵丿 丨丿丕賯賱 丿賵 賲乇鬲亘賴 賲胤丕賱毓賴 卮賵丿貙 蹖讴亘丕乇 鬲賳賴丕 丕夭 賳诏丕賴 丕丿亘蹖 賵 亘丕 丿賯鬲 丿乇 鬲賵氐蹖賮丕鬲 賵 夭蹖亘丕蹖蹖 丕丿亘蹖 丕孬乇 賵 亘丕乇蹖 丿蹖诏乇 亘賴鈥屬囐呚辟� 鬲賵囟蹖丨丕鬲 賲鬲乇噩賲 賲丨鬲乇賲賽 毓夭蹖夭 賵 亘乇丕蹖 丿乇讴 賳爻亘蹖 丕孬乇! 賳爻亘蹖貙 丕夭 丕蹖賳 賲賳馗乇 讴賴 賴賳賵夭 鬲賲丕賲蹖 丕卮毓丕乇 丿丕賳鬲賴 亘乇丕蹖 賲鬲禺氐氐丕賳 丿丕賳鬲賴鈥屫促嗀ж� 賳蹖夭 賮賴賲 賳卮丿賴鈥屫з嗀� 讴賴 蹖讴 禺賵丕賳賳丿踿 毓丕丿蹖 亘乇丕蹖 賳禺爻鬲蹖賳 亘丕乇 亘鬲賵丕賳丿 鬲賲丕賲 丕孬乇 乇丕 亘賮賴賲丿.
!乇丕 禺蹖乇 賵 乇丨賲鬲 丿賴丕丿 Course Hero 禺丿丕賵賳丿
丿賵爻鬲丕賳! 賲賳 丕蹖賳 讴丕賳丕賱 蹖賵鬲蹖賵亘蹖 乇丕 丿乇 禺賱丕賱 賲胤丕賱毓踿 賴賲蹖賳 丿賵夭禺 讴卮賮 讴乇丿賲 賵 亘乇丕爻鬲蹖 禺丿丕賵賳丿诏丕乇賽 賳丕賲賵噩賵丿貙 丿丕賳鬲賴 乇丕 讴賴 爻亘亘 禺蹖乇 卮丿 讴賴 亘丕 丕蹖賳 讴丕賳丕賱 丌卮賳丕 卮賵賲 賵 賴賲趩賳蹖賳 爻丕夭賳丿诏丕賳 丕蹖賳 讴丕賳丕賱 乇丕 亘乇丕蹖 讴丕乇爻鬲丕賳卮丕賳 禺蹖乇 丿賴丿! 丕蹖賳 讴丕賳丕賱 賲丨鬲乇賲 亘丕 賮蹖賱賲鈥屬囏й� 讴賵鬲丕賴 丿賵 鬲丕 倬賳噩 丿賯蹖賯賴鈥屫й屫� 亘賴 爻乇丕睾 丌孬丕乇 丕丿亘蹖 亘夭乇诏 噩賴丕賳 賲蹖鈥屫辟堌� 賵 丿丕爻鬲丕賳 丌賳賴丕 乇丕 亘賴鈥屫焚堌� 讴賱蹖 ( 賵 亘丕 鬲氐賵蹖乇爻丕夭蹖 讴賴 亘爻蹖 賲賴賲 丕爻鬲!) 鬲賵囟蹖丨 賲蹖鈥屫囏� 賵 诏丕賴蹖 鬲賮爻蹖乇 賳蹖夭 賲蹖鈥屭┵嗀�! 丨爻賳 丌賳 丕蹖賳 丕爻鬲 讴賴 賲蹖鈥屫堌з� 亘毓囟蹖 丌孬丕乇 乇丕 讴賴 賯氐丿 賲胤丕賱毓賴 賳丿丕乇蹖丿 乇丕 丕夭 丕蹖賳 讴丕賳丕賱 倬蹖丿丕 讴賳蹖丿 賵 賮蹖賱賲鈥屬囏й屫� 乇丕 亘亘蹖賳蹖丿貙 蹖丕 亘乇丕蹖 賲乇賵乇 蹖讴 讴鬲丕亘 丕賲丕 丕夭 乇丕賴蹖 丿蹖诏乇 丕夭 丌賳 丕爻鬲賮丕丿賴 讴賳蹖丿. 丕蹖賳噩丕 賱蹖賳讴 讴丕賳丕賱 賵 賴賲趩賳蹖賳 丿賵夭禺 丿丕賳鬲賴 乇丕 賯乇丕乇 丿丕丿賴鈥屫з�.
丿賵夭禺:
讴丕賳丕賱:
March 5, 2020
Book Review
4 out of 5 stars to , the first of three books in the "Divine Comedy" series, written around 1320 by . A few pieces of background information for those who many not know, before I get into a mini-review. Inferno, which means "Hell" was one of three books Dante wrote in the 14th century, essentially about the three spaces people occupy after death: Hell (Inferno), Purgatory and Heaven (Paradiso). I've only read Inferno, so I'm not able to discuss much on the other two, but I'd like to some day. They were not written in English, so I have read a translated version. These works are considered comparable in fame and beauty as those of William Shakespeare. OK... that said, my thoughts:
For as long as people have been alive, Christians, that is, they have worried about what happens after death, turning to God and the Bible. In the 14th century, religion was one of the only things people did with their lives besides work and raise a family. They had a lot of time to spend on it, wondering what might happen. Dante captures the exact sentiments we've all felt throughout our lives, and he displays it through the nine circles or gates of hell. He presents it as a torture for all those who did bad things while they were alive. The story, in its basic form, is Dante himself traveling in a boat through the river that runs through Hell, stopping to see each realm. He's led by the famous poet Virgil. He encounters people or archetypes of people he knew and those he's heard of. Essentially, it's a story of justice and the contradictions in religious beliefs for all of God's followers. Dante pushed people to think about their actions and beliefs. And he created a story based on his own journey to say everything he felt about what he's experienced in life.
It's full of questions. It's been the basis for so many movies, books and plays in the future. It's so often quoted or referenced, it's literally one of the most famous works around... and to think it was written nearly 700 years ago is amazing. Though it's no where near a comparison, it reminds me a little bit of The Ninth Gate, a movie with Johnny Depp, that I love, about people trying to reach the Devil. And it's a translation of a new Spanish author I'm very fond of: Arturo Perez-Reverte. I've read one of his books and plan to read The Club Dumas soon.
As for this one, I encourage everyone to find a passage from The Divine Comedy, even if you prefer Paradise or Purgatory, something a tad more positive, just to see the language and the lyrics Dante shares. It's beautiful. I could go on and on, but hopefully this is enough to wet your appetite.
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on 欧宝娱乐, and then I send it on over to my WordPress blog at , where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.
4 out of 5 stars to , the first of three books in the "Divine Comedy" series, written around 1320 by . A few pieces of background information for those who many not know, before I get into a mini-review. Inferno, which means "Hell" was one of three books Dante wrote in the 14th century, essentially about the three spaces people occupy after death: Hell (Inferno), Purgatory and Heaven (Paradiso). I've only read Inferno, so I'm not able to discuss much on the other two, but I'd like to some day. They were not written in English, so I have read a translated version. These works are considered comparable in fame and beauty as those of William Shakespeare. OK... that said, my thoughts:
For as long as people have been alive, Christians, that is, they have worried about what happens after death, turning to God and the Bible. In the 14th century, religion was one of the only things people did with their lives besides work and raise a family. They had a lot of time to spend on it, wondering what might happen. Dante captures the exact sentiments we've all felt throughout our lives, and he displays it through the nine circles or gates of hell. He presents it as a torture for all those who did bad things while they were alive. The story, in its basic form, is Dante himself traveling in a boat through the river that runs through Hell, stopping to see each realm. He's led by the famous poet Virgil. He encounters people or archetypes of people he knew and those he's heard of. Essentially, it's a story of justice and the contradictions in religious beliefs for all of God's followers. Dante pushed people to think about their actions and beliefs. And he created a story based on his own journey to say everything he felt about what he's experienced in life.
It's full of questions. It's been the basis for so many movies, books and plays in the future. It's so often quoted or referenced, it's literally one of the most famous works around... and to think it was written nearly 700 years ago is amazing. Though it's no where near a comparison, it reminds me a little bit of The Ninth Gate, a movie with Johnny Depp, that I love, about people trying to reach the Devil. And it's a translation of a new Spanish author I'm very fond of: Arturo Perez-Reverte. I've read one of his books and plan to read The Club Dumas soon.
As for this one, I encourage everyone to find a passage from The Divine Comedy, even if you prefer Paradise or Purgatory, something a tad more positive, just to see the language and the lyrics Dante shares. It's beautiful. I could go on and on, but hopefully this is enough to wet your appetite.
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on 欧宝娱乐, and then I send it on over to my WordPress blog at , where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.
August 18, 2022
Digna representante medieval pero tambi茅n con algunos tintes renacentistas.
Me ha gustado much铆simo m谩s de lo que pens茅 en un comienzo. Es cuanto menos un libro interesant铆simo con una cosmogon铆a obviamente religiosa, basada en el cristianismo y tintes ideol贸gicos de Arist贸teles. Se nota mucho la influencia filos贸fica.
Ahora, tambi茅n es verdad que a m铆 me gusta el lirismo po茅tico de Dante y he disfrutado much铆simo la construcci贸n de ese infierno sofocante y que va aumentando la sensaci贸n insana y flagelante en la medida en que te vas sumergiendo hasta el fondo de lo que Dante consider贸 bajo su lupa un pecado peor que el anterior.
La lectura de esto puede ser a veces literal, otras veces aleg贸rica pero de lo que no hay duda es que hay muchas connotaciones y su contenido es altamente moral, pol铆tico y religioso. Las sanciones para los pobres condenados son muy imaginativos y demasiado simb贸licos, ya sea por ant铆tesis o por analog铆a a sus pecados as铆 son castigados. La base aristot茅lica de Dante est谩 muy bien basada y es m谩s disfrutable sabiendo de antemano parte de la biograf铆a del autor para identificar porqu茅 escribi贸 esto y con qu茅 intenciones pol铆ticas, filos贸ficas y teol贸gicas, ya que bebe mucho de referencias literarias, mitol贸gicas y tambi茅n de su vida personal con inclusi贸n de personajes ficticios, hist贸ricos y de su misma contemporaneidad.
Me ha gustado much铆simo m谩s de lo que pens茅 en un comienzo. Es cuanto menos un libro interesant铆simo con una cosmogon铆a obviamente religiosa, basada en el cristianismo y tintes ideol贸gicos de Arist贸teles. Se nota mucho la influencia filos贸fica.
Ahora, tambi茅n es verdad que a m铆 me gusta el lirismo po茅tico de Dante y he disfrutado much铆simo la construcci贸n de ese infierno sofocante y que va aumentando la sensaci贸n insana y flagelante en la medida en que te vas sumergiendo hasta el fondo de lo que Dante consider贸 bajo su lupa un pecado peor que el anterior.
La lectura de esto puede ser a veces literal, otras veces aleg贸rica pero de lo que no hay duda es que hay muchas connotaciones y su contenido es altamente moral, pol铆tico y religioso. Las sanciones para los pobres condenados son muy imaginativos y demasiado simb贸licos, ya sea por ant铆tesis o por analog铆a a sus pecados as铆 son castigados. La base aristot茅lica de Dante est谩 muy bien basada y es m谩s disfrutable sabiendo de antemano parte de la biograf铆a del autor para identificar porqu茅 escribi贸 esto y con qu茅 intenciones pol铆ticas, filos贸ficas y teol贸gicas, ya que bebe mucho de referencias literarias, mitol贸gicas y tambi茅n de su vida personal con inclusi贸n de personajes ficticios, hist贸ricos y de su misma contemporaneidad.
April 13, 2018
Maybe Dante was referring to the levels of materialism. The more one has the more one wants, spiraling downwards, deeper and deeper until the matter consumes. So dense and dark with matter and at absolute evil, Hell, where Satan resides.馃惎馃憤
June 20, 2023
so when Dante writes a y/n self-insert of him and Virgil it's "a masterpiece, a blessing to mankind and groundbreaking literature" but when girls do it, it's "stupid silly fan-fiction" 馃檮
December 20, 2024
讴賲丿蹖 丕賱賴蹖 丿賵夭禺
丿丕賳鬲賴 丿乇 賲蹖丕賳賴鈥屰� 毓賲乇 (鄢鄣 爻丕賱诏蹖) 禺賵丿卮 乇賵 丿乇 噩賳诏賱蹖 鬲丕乇蹖讴 賵 馗賱賲丕鬲 賲蹖亘蹖賳賴貙 賲蹖丕丿 亘賴 胤乇賮 賳賵乇蹖 讴賴 丿乇 丿賵乇丿爻鬲 丿蹖丿賴 丨乇讴鬲 讴賳賴 讴賴 爻賴 丨蹖賵丕賳 丿乇賳丿賴 丕賵賳 乇賵 亘賴 丿丕禺賱 噩賳诏賱 亘乇賲蹖诏乇丿賵賳賳貙 亘賴 丕蹖賳 賲毓賳丕 讴賴 乇賴丕蹖蹖 丕夭 诏賳丕賴丕賳 賵 鬲丕乇蹖讴蹖 賵 馗賱賲丕鬲 爻丕丿賴 賳蹖爻鬲. 賳丕诏賴丕賳 賵蹖乇跇蹖賱 亘賴 讴賲讴 丿丕賳鬲賴 賲蹖丕丿 鬲丕 乇丕賴賳賲丕蹖 丕賵賳 亘丕卮賴 亘乇丕蹖 毓亘賵乇 丕夭 賲爻蹖乇 馗賱賲丕鬲. 丿丕賳鬲賴 亘丕 丿乇 賴賲 丌賲蹖禺鬲賳 毓賯丕蹖丿 賲匕賴亘蹖 賲爻蹖丨蹖 禺賵丿卮 賵 丕爻丕胤蹖乇 賯丿蹖賲蹖 丕蹖賳 讴鬲丕亘 賵 丿賵 讴鬲丕亘 亘毓丿蹖 乇賵 賳賵卮鬲賴 鬲丕 讴賲丿蹖 丕賱賴蹖 卮讴賱 亘诏蹖乇賴. 丿丕賳鬲賴 丿乇 讴鬲丕亘 丿賵夭禺 亘賴 讴賲讴 賵蹖乇跇蹖賱 丕夭 丿賵夭禺 毓亘賵乇 賲蹖鈥屭┵嗁� 賵 胤亘賯丕鬲 賲禺鬲賱賮 丿賵夭禺 乇賵 賲卮丕賴丿賴 賲蹖鈥屭┵嗁� 賵 亘丕 亘毓囟蹖 丕夭 丿賵夭禺蹖丕賳 賴賲 讴賱丕賲 賲蹖卮賴 賵 毓匕丕亘鈥屬囏й屰� 讴賴 賲蹖鈥屭┴促� 乇賵 卮乇丨 賲蹖丿賴. 丿賵夭禺 丿乇 讴鬲丕亘 賵蹖乇跇蹖賱 丿乇 丿丕禺賱 讴乇賴鈥屰� 夭賲蹖賳 賵 夭蹖乇 賳蹖賲讴乇賴鈥屰� 賲爻讴賵賳蹖 夭賲蹖賳 賴爻鬲 賵 亘賴 氐賵乇鬲 賲禺乇賵胤蹖 亘賴 賲乇讴夭 讴乇賴 賲蹖乇爻賴. 丕賵賱蹖賳 胤亘賯賴貙 亘夭乇诏鬲乇蹖賳 賵 丌禺乇蹖賳 胤亘賯賴 讴賵趩讴鬲乇蹖賳 胤亘賯賴鈥屫池�. 丕蹖賳 胤亘賯丕鬲 亘賴 鬲乇鬲蹖亘 毓亘丕乇鬲賳丿 丕夭
胤亘賯賴 丕賵賱: 亘夭乇诏丕賳 丿賵乇丕賳 讴賴賳
胤亘賯賴 丿賵賲: 卮賴賵鬲 乇丕賳丕賳
胤亘賯賴 爻賵賲: 卮讴賲 倬乇爻鬲丕賳
胤亘賯賴 趩賴丕乇賲: 禺爻蹖爻丕賳 賵 賲爻乇賮蹖賳
胤亘賯賴 倬賳噩賲: 丕乇亘丕亘 睾囟亘
胤亘賯賴 卮卮賲: 夭賳丿蹖賯丕賳
胤亘賯賴 賴賮鬲賲: 鬲噩丕賵夭讴丕乇丕賳
胤亘賯賴 賴卮鬲賲: 丨蹖賱賴 诏乇丕賳
胤亘賯賴 賳賴賲: 禺蹖丕賳鬲讴丕乇丕賳
賵 丿乇 丕賳鬲賴丕 賲賳夭賱 卮蹖胤丕賳
亘丕 賵噩賵丿 丕蹖賳讴賴 毓賯丕蹖丿 丿丕賳鬲賴 亘乇丕蹖 賲賳 賯丕亘賱 賯亘賵賱 賳蹖爻鬲 丕賲丕 丕夭 丕乇夭卮 丕丿亘蹖 賵 噩匕丕亘蹖鬲 乇賵丕蹖鬲 賳賲蹖卮賴 趩卮賲 倬賵卮蹖丿 賵 氐丿 丕賱亘鬲賴 鬲賵囟蹖丨丕鬲 卮噩丕毓鈥屫з勜屬� 卮賮丕 亘爻蹖丕乇 乇賵卮賳诏乇 賵 讴賲讴 讴賳賳丿賴 賴爻鬲 丿乇 禺賵賳丿賳 讴鬲丕亘
丿丕賳鬲賴 丿乇 賲蹖丕賳賴鈥屰� 毓賲乇 (鄢鄣 爻丕賱诏蹖) 禺賵丿卮 乇賵 丿乇 噩賳诏賱蹖 鬲丕乇蹖讴 賵 馗賱賲丕鬲 賲蹖亘蹖賳賴貙 賲蹖丕丿 亘賴 胤乇賮 賳賵乇蹖 讴賴 丿乇 丿賵乇丿爻鬲 丿蹖丿賴 丨乇讴鬲 讴賳賴 讴賴 爻賴 丨蹖賵丕賳 丿乇賳丿賴 丕賵賳 乇賵 亘賴 丿丕禺賱 噩賳诏賱 亘乇賲蹖诏乇丿賵賳賳貙 亘賴 丕蹖賳 賲毓賳丕 讴賴 乇賴丕蹖蹖 丕夭 诏賳丕賴丕賳 賵 鬲丕乇蹖讴蹖 賵 馗賱賲丕鬲 爻丕丿賴 賳蹖爻鬲. 賳丕诏賴丕賳 賵蹖乇跇蹖賱 亘賴 讴賲讴 丿丕賳鬲賴 賲蹖丕丿 鬲丕 乇丕賴賳賲丕蹖 丕賵賳 亘丕卮賴 亘乇丕蹖 毓亘賵乇 丕夭 賲爻蹖乇 馗賱賲丕鬲. 丿丕賳鬲賴 亘丕 丿乇 賴賲 丌賲蹖禺鬲賳 毓賯丕蹖丿 賲匕賴亘蹖 賲爻蹖丨蹖 禺賵丿卮 賵 丕爻丕胤蹖乇 賯丿蹖賲蹖 丕蹖賳 讴鬲丕亘 賵 丿賵 讴鬲丕亘 亘毓丿蹖 乇賵 賳賵卮鬲賴 鬲丕 讴賲丿蹖 丕賱賴蹖 卮讴賱 亘诏蹖乇賴. 丿丕賳鬲賴 丿乇 讴鬲丕亘 丿賵夭禺 亘賴 讴賲讴 賵蹖乇跇蹖賱 丕夭 丿賵夭禺 毓亘賵乇 賲蹖鈥屭┵嗁� 賵 胤亘賯丕鬲 賲禺鬲賱賮 丿賵夭禺 乇賵 賲卮丕賴丿賴 賲蹖鈥屭┵嗁� 賵 亘丕 亘毓囟蹖 丕夭 丿賵夭禺蹖丕賳 賴賲 讴賱丕賲 賲蹖卮賴 賵 毓匕丕亘鈥屬囏й屰� 讴賴 賲蹖鈥屭┴促� 乇賵 卮乇丨 賲蹖丿賴. 丿賵夭禺 丿乇 讴鬲丕亘 賵蹖乇跇蹖賱 丿乇 丿丕禺賱 讴乇賴鈥屰� 夭賲蹖賳 賵 夭蹖乇 賳蹖賲讴乇賴鈥屰� 賲爻讴賵賳蹖 夭賲蹖賳 賴爻鬲 賵 亘賴 氐賵乇鬲 賲禺乇賵胤蹖 亘賴 賲乇讴夭 讴乇賴 賲蹖乇爻賴. 丕賵賱蹖賳 胤亘賯賴貙 亘夭乇诏鬲乇蹖賳 賵 丌禺乇蹖賳 胤亘賯賴 讴賵趩讴鬲乇蹖賳 胤亘賯賴鈥屫池�. 丕蹖賳 胤亘賯丕鬲 亘賴 鬲乇鬲蹖亘 毓亘丕乇鬲賳丿 丕夭
胤亘賯賴 丕賵賱: 亘夭乇诏丕賳 丿賵乇丕賳 讴賴賳
胤亘賯賴 丿賵賲: 卮賴賵鬲 乇丕賳丕賳
胤亘賯賴 爻賵賲: 卮讴賲 倬乇爻鬲丕賳
胤亘賯賴 趩賴丕乇賲: 禺爻蹖爻丕賳 賵 賲爻乇賮蹖賳
胤亘賯賴 倬賳噩賲: 丕乇亘丕亘 睾囟亘
胤亘賯賴 卮卮賲: 夭賳丿蹖賯丕賳
胤亘賯賴 賴賮鬲賲: 鬲噩丕賵夭讴丕乇丕賳
胤亘賯賴 賴卮鬲賲: 丨蹖賱賴 诏乇丕賳
胤亘賯賴 賳賴賲: 禺蹖丕賳鬲讴丕乇丕賳
賵 丿乇 丕賳鬲賴丕 賲賳夭賱 卮蹖胤丕賳
亘丕 賵噩賵丿 丕蹖賳讴賴 毓賯丕蹖丿 丿丕賳鬲賴 亘乇丕蹖 賲賳 賯丕亘賱 賯亘賵賱 賳蹖爻鬲 丕賲丕 丕夭 丕乇夭卮 丕丿亘蹖 賵 噩匕丕亘蹖鬲 乇賵丕蹖鬲 賳賲蹖卮賴 趩卮賲 倬賵卮蹖丿 賵 氐丿 丕賱亘鬲賴 鬲賵囟蹖丨丕鬲 卮噩丕毓鈥屫з勜屬� 卮賮丕 亘爻蹖丕乇 乇賵卮賳诏乇 賵 讴賲讴 讴賳賳丿賴 賴爻鬲 丿乇 禺賵賳丿賳 讴鬲丕亘
March 2, 2023
Abandon hope all ye who enter this review 馃拃馃榿
馃敟 Of the three volumes of 顿补苍迟别鈥檚 After Life poetry I enjoyed Inferno and Paradiso the most. Paradiso, often unjustly neglected, has astonishing visions of light and extreme geometric precision. But the writing in both volumes is exceptional. (I couldn鈥檛 get entranced by Purgatory.)
馃敟 You can get bogged down by Dante. Names names names and all in Italiano. So, I suggest you purchase an annotated edition of Inferno. Virgil will only explain so much and Dante stuffs Hell with his enemies. You won鈥檛 know who they are without the annotated version. Might as well find out who he hated the most.
Enjoy what others have enjoyed for hundreds of years 馃敟馃敟馃敟
馃敟 Of the three volumes of 顿补苍迟别鈥檚 After Life poetry I enjoyed Inferno and Paradiso the most. Paradiso, often unjustly neglected, has astonishing visions of light and extreme geometric precision. But the writing in both volumes is exceptional. (I couldn鈥檛 get entranced by Purgatory.)
馃敟 You can get bogged down by Dante. Names names names and all in Italiano. So, I suggest you purchase an annotated edition of Inferno. Virgil will only explain so much and Dante stuffs Hell with his enemies. You won鈥檛 know who they are without the annotated version. Might as well find out who he hated the most.
Enjoy what others have enjoyed for hundreds of years 馃敟馃敟馃敟
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August 11, 2022兀賵賱 噩夭亍 賮賷 丕賱賰賵賲賷丿賷丕 丕賱廿賱賴賷丞.. 乇丨賱丞 禺賷丕賱賷丞 賱丿丕賳鬲賷 賮賷 丕賱噩丨賷賲
賲賱丨賲丞 卮毓乇賷丞 賮賷 孬賱丕孬丞 兀噩夭丕亍 賰鬲亘賴丕 丕賱卮丕毓乇 丕賱丕賷胤丕賱賷 丿丕賳鬲賷 丕賱賷噩賷乇賷 亘毓賳賵丕賳 丕賱賰賵賲賷丿賷丕
賵亘毓丿 爻賳賷賳 兀囟丕賮 丕賱卮丕毓乇 丕賱丕賷胤丕賱賷 噩賷賵賮丕賳賷 亘賵賰丕鬲卮賷賵 賱賱毓賳賵丕賳 賰賱賲丞 丕賱廿賱賴賷丞
賷亘丿兀 丿丕賳鬲賷 乇丨賱鬲賴 賱賱毓丕賱賲 丕賱丌禺乇 賮賷 丕賱噩丨賷賲 亘氐丨亘丞 丕賱卮丕毓乇 丕賱乇賵賲丕賳賷 賮賷乇趩賷賱
賵賮賷 賷賵賲賷賳 賷賲乇 毓賱賶 丕賱賰孬賷乇 賲賳 丕賱卮禺氐賷丕鬲 賵賷毓乇囟 禺胤丕賷丕賴賲 賵毓匕丕亘丕鬲賴賲
丕賱鬲乇噩賲丞 丕賱賳孬乇賷丞 賱丨爻賳 毓孬賲丕賳 噩賷丿丞 賵爻賱爻丞 賵丕賱丨賵丕卮賷 賲賮賷丿丞 賮賷 丕賱鬲賮爻賷乇 賵丕賱鬲毓乇賷賮 亘丕賱卮禺氐賷丕鬲
賵賮賷 丕賱賲賯丿賲丞 毓乇囟 氐賵乇丞 毓丕賲丞 賱賱賰賵賲賷丿賷丕 賵賰賱 賲丕 賷鬲毓賱賯 亘毓氐乇 丿丕賳鬲賷 賵丨賷丕鬲賴 賵卮禺氐賷鬲賴 賵兀毓賲丕賱賴
賲賱丨賲丞 卮毓乇賷丞 賮賷 孬賱丕孬丞 兀噩夭丕亍 賰鬲亘賴丕 丕賱卮丕毓乇 丕賱丕賷胤丕賱賷 丿丕賳鬲賷 丕賱賷噩賷乇賷 亘毓賳賵丕賳 丕賱賰賵賲賷丿賷丕
賵亘毓丿 爻賳賷賳 兀囟丕賮 丕賱卮丕毓乇 丕賱丕賷胤丕賱賷 噩賷賵賮丕賳賷 亘賵賰丕鬲卮賷賵 賱賱毓賳賵丕賳 賰賱賲丞 丕賱廿賱賴賷丞
賷亘丿兀 丿丕賳鬲賷 乇丨賱鬲賴 賱賱毓丕賱賲 丕賱丌禺乇 賮賷 丕賱噩丨賷賲 亘氐丨亘丞 丕賱卮丕毓乇 丕賱乇賵賲丕賳賷 賮賷乇趩賷賱
賵賮賷 賷賵賲賷賳 賷賲乇 毓賱賶 丕賱賰孬賷乇 賲賳 丕賱卮禺氐賷丕鬲 賵賷毓乇囟 禺胤丕賷丕賴賲 賵毓匕丕亘丕鬲賴賲
丕賱鬲乇噩賲丞 丕賱賳孬乇賷丞 賱丨爻賳 毓孬賲丕賳 噩賷丿丞 賵爻賱爻丞 賵丕賱丨賵丕卮賷 賲賮賷丿丞 賮賷 丕賱鬲賮爻賷乇 賵丕賱鬲毓乇賷賮 亘丕賱卮禺氐賷丕鬲
賵賮賷 丕賱賲賯丿賲丞 毓乇囟 氐賵乇丞 毓丕賲丞 賱賱賰賵賲賷丿賷丕 賵賰賱 賲丕 賷鬲毓賱賯 亘毓氐乇 丿丕賳鬲賷 賵丨賷丕鬲賴 賵卮禺氐賷鬲賴 賵兀毓賲丕賱賴
April 11, 2023
49th book of 2021. Artist for this review is the magnificent French artist Gustave Dor茅, who did illustrations for The Divine Comedy. There will be many in this review, because they are hauntingly beautiful.
In Brighton a long time ago now I picked up Clive James鈥� complete The Divine Comedy translation and have poked a few times, non-committedly into it. I鈥檒l read it properly once I鈥檝e finished reading the rest of Sayers (and maybe after Ciardi too). I鈥檝e been wanting to read Dante for a long time now (isn鈥檛 it funny how people say Dante, rather than Alighieri, when all other writers are known by their surnames?) and so I began my research. I also began reading.
Sayers keeps the original Italian terza rima rhyme scheme which many translation omit, including James. I wondered if this meant that the translation would be 鈥渓ess honest鈥�, but frankly, it was the decision between closer to 顿补苍迟别鈥檚 precise words or closer to 顿补苍迟别鈥檚 precise rhyme/rhythm. In the end there were three reasons I stuck with Sayers, (1) Umberto Eco says in an essay that Sayers 鈥渄oes the best in at least partially preserving the hendecasyllables and the rhyme鈥� and (2) after every canto (all 33), Sayers includes fairly extensive notes that outline context, allusions, meaning, etc and (3) I began reading it whilst still researching and realised I was in love, to quote Catch-22鈥�It was love at first sight.
Before anything else the very concept of Hell/Inferno sets my imagination alight: the poet Virgil guides Dante Alighieri himself into the depths of Hell. And what further set it alight was the detail in which Dante has constructed Hell, with bridges and slopes (and Sayers does her best, with diagrams, to track exactly how the two poets moved about), and how fantastical it all is. There are giants, centaurs, figures from myth like Odysseus himself, other writers such as Homer, countless figures from 顿补苍迟别鈥檚 real-life (particularly political 鈥渆nemies鈥�), raining fire, rivers of lava, beasts, people as trees or people with their heads on backwards of any number of other Ovidian metamorphoses. In a way, I think having a general knowledge of Greek/Roman myth would be beneficial for the reading of Dante but not necessarily essential. If you are reading Sayers, she breaks down a lot of the allusions and references, as I said, but knowing them yourself would of course allow for greater and deeper meaning.
I was completely bowled over by how entertaining this was, how humorous at times, how violent and intelligent and how purely addictive. I鈥檒l admit that like my reading of Joyce, I paced about my bedroom in an imagined auditorium reading the cantos aloud. After each canto I read Sayers鈥� fantastic notes and pored through online resources to learn more. Writing this review is difficult because I have so much I want to say, I can almost say nothing. It鈥檚 impossible to know where to start. So I will hang my rambling from the amazing artwork by Dor茅; it captures the feeling and atmosphere and pure dramatics of the poem far better than I can. The only thing the artwork doesn't manage to capture is the humour, for there is humour, though it may be hard to believe. Dante writes himself realistically, by which I mean, he hides behind Virgil, he cries a lot (at the beginning of Purgatory he must wash his face of the tears he shed in Hell), and generally finds him startled by everything they come across in Hell, the poor poet even faints on several occasions. There鈥檚 no Kafkaesque acceptance of what he sees: Dante is horrified by the horrors of Hell. For example, here is Dante clinging to the arm of Virgil as he pushes Filippo Argenti back into the river Styx in the Fifth Circle.
Or Dante as he remains on the boat as Virgil steps out to confront the devils outside the city of Dis:
(Oddly, one of the most fascinating parts of the whole Inferno for me was the detail. I've mentioned it briefly in regard to the circles themselves and how the poets move between them via paths and bridges, but more so, regarding Dante himself. There are countless allusions throughout to the fact that Dante is in fact "alive", as the devils call out here, 'why walks this man, / Undead, the kingdom of the dead?' At one point, fairly early on, it describes how rocks and pebbles are shifted and kicked by Dante's movements around Hell, but not Virgil's. He casts no shadow. And for the extreme detail, Dante mentions that when he speaks, his throat moves, where of course Virgil's doesn't, or anyone else's either.)
The humour is only slight throughout the horrors of Hell. In Canto V we see the lustful who are caught in a permanent gale/hurricane of wind.
Or one of the most harrowing images, the poets walk Cocytus in the ninth (and lowest) circle of Hell. It is described as a frozen lake rather than a river, and traitors are submerged in the ice to varying degrees, dependent on their crimes in life.
Of course the poets find their way out of Hell, after passing Satan himself (climbing on Satan, even). Dante now must wash the tears from his face. I've actually become rather obsessed and have been sitting around wondering if it's possible to go to Dante School, or become a dedicated Dante scholar. Or to somehow spend the rest of my life reading Inferno. First though, I must read the other two, before I get carried away. From here the plan is to read the rest of Sayers' beautiful translation (though the final one was finished by Barbara Reynolds in 1962 following Sayers' death) and then read the Ciardi translation. After that perhaps Clive James, though from what I've read so far, it seems like one to leave for later. Perhaps Hollander before James. I may add more to this review as I inevitably learn more. I will write new reviews for future translations read to compare them with one another and slowly, hopefully, grow a rather complete understanding of this seminal and magnificent work; it is a certain favourite.
But first, Mount Purgatory.
In Brighton a long time ago now I picked up Clive James鈥� complete The Divine Comedy translation and have poked a few times, non-committedly into it. I鈥檒l read it properly once I鈥檝e finished reading the rest of Sayers (and maybe after Ciardi too). I鈥檝e been wanting to read Dante for a long time now (isn鈥檛 it funny how people say Dante, rather than Alighieri, when all other writers are known by their surnames?) and so I began my research. I also began reading.
Sayers keeps the original Italian terza rima rhyme scheme which many translation omit, including James. I wondered if this meant that the translation would be 鈥渓ess honest鈥�, but frankly, it was the decision between closer to 顿补苍迟别鈥檚 precise words or closer to 顿补苍迟别鈥檚 precise rhyme/rhythm. In the end there were three reasons I stuck with Sayers, (1) Umberto Eco says in an essay that Sayers 鈥渄oes the best in at least partially preserving the hendecasyllables and the rhyme鈥� and (2) after every canto (all 33), Sayers includes fairly extensive notes that outline context, allusions, meaning, etc and (3) I began reading it whilst still researching and realised I was in love, to quote Catch-22鈥�It was love at first sight.
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.
Ay me! how hard to speak of it鈥攖hat rude
And rough and stubborn forest! the mere breath
Of memory stirs the old fear in the blood;
It is so bitter, it goes nigh to death;
Yet there I gained such good, that, to convey
The tale, I'll write what else I found therewith.
Before anything else the very concept of Hell/Inferno sets my imagination alight: the poet Virgil guides Dante Alighieri himself into the depths of Hell. And what further set it alight was the detail in which Dante has constructed Hell, with bridges and slopes (and Sayers does her best, with diagrams, to track exactly how the two poets moved about), and how fantastical it all is. There are giants, centaurs, figures from myth like Odysseus himself, other writers such as Homer, countless figures from 顿补苍迟别鈥檚 real-life (particularly political 鈥渆nemies鈥�), raining fire, rivers of lava, beasts, people as trees or people with their heads on backwards of any number of other Ovidian metamorphoses. In a way, I think having a general knowledge of Greek/Roman myth would be beneficial for the reading of Dante but not necessarily essential. If you are reading Sayers, she breaks down a lot of the allusions and references, as I said, but knowing them yourself would of course allow for greater and deeper meaning.
I was completely bowled over by how entertaining this was, how humorous at times, how violent and intelligent and how purely addictive. I鈥檒l admit that like my reading of Joyce, I paced about my bedroom in an imagined auditorium reading the cantos aloud. After each canto I read Sayers鈥� fantastic notes and pored through online resources to learn more. Writing this review is difficult because I have so much I want to say, I can almost say nothing. It鈥檚 impossible to know where to start. So I will hang my rambling from the amazing artwork by Dor茅; it captures the feeling and atmosphere and pure dramatics of the poem far better than I can. The only thing the artwork doesn't manage to capture is the humour, for there is humour, though it may be hard to believe. Dante writes himself realistically, by which I mean, he hides behind Virgil, he cries a lot (at the beginning of Purgatory he must wash his face of the tears he shed in Hell), and generally finds him startled by everything they come across in Hell, the poor poet even faints on several occasions. There鈥檚 no Kafkaesque acceptance of what he sees: Dante is horrified by the horrors of Hell. For example, here is Dante clinging to the arm of Virgil as he pushes Filippo Argenti back into the river Styx in the Fifth Circle.
Or Dante as he remains on the boat as Virgil steps out to confront the devils outside the city of Dis:
A long way round we had to navigate
Before we came to where the ferryman
Roared: 'Out with you now, for here's the gate!'
Thousand and more, thronging the barbican,
I saw, of spirits fallen from Heaven, who cried
Angrily: 'Who goes there? why walks this man,
Undead, the kingdom of the dead?' My guide,
Wary and wise, made signs to them, to show
He sought a secret parley. Then their pride
Abating somewhat, they called out: 'Why, so!
Come thou within, and bid that fellow begone鈥�
That rash intruder on our realm below.
(Oddly, one of the most fascinating parts of the whole Inferno for me was the detail. I've mentioned it briefly in regard to the circles themselves and how the poets move between them via paths and bridges, but more so, regarding Dante himself. There are countless allusions throughout to the fact that Dante is in fact "alive", as the devils call out here, 'why walks this man, / Undead, the kingdom of the dead?' At one point, fairly early on, it describes how rocks and pebbles are shifted and kicked by Dante's movements around Hell, but not Virgil's. He casts no shadow. And for the extreme detail, Dante mentions that when he speaks, his throat moves, where of course Virgil's doesn't, or anyone else's either.)
The humour is only slight throughout the horrors of Hell. In Canto V we see the lustful who are caught in a permanent gale/hurricane of wind.
A place made dumb of every glimmer of light,
Which bellows like tempestuous ocean birling
In the batter of a two-way wind's buffet and fight.
The blast of hell that never rests from whirling
Harries the spirits along in the sweep of its swath,
And vexes them, for ever beating and hurling.
When they are borne to the rim of the ruinous path
With cry and wail and shriek they are caught by the gust,
Railing and cursing the power of the Lord's wrath.
Into this torment carnal sinners are thrust,
So I was told鈥攖he sinners who make their reason
Bond thrall under the yoke of their lust.
Or one of the most harrowing images, the poets walk Cocytus in the ninth (and lowest) circle of Hell. It is described as a frozen lake rather than a river, and traitors are submerged in the ice to varying degrees, dependent on their crimes in life.
I thought I saw a shady mass appear;
Then shrank behind my leader from the blast,
Because there was no other cabin here.
I stood (with fear I write it) where at least
The shades, quite covered by the frozen sheet,
Gleamed through the ice like straws in crystal glassed;
Some lie at length and others stand in it,
This one upon his head, and that upright,
Another like a bow bent to feet.
Of course the poets find their way out of Hell, after passing Satan himself (climbing on Satan, even). Dante now must wash the tears from his face. I've actually become rather obsessed and have been sitting around wondering if it's possible to go to Dante School, or become a dedicated Dante scholar. Or to somehow spend the rest of my life reading Inferno. First though, I must read the other two, before I get carried away. From here the plan is to read the rest of Sayers' beautiful translation (though the final one was finished by Barbara Reynolds in 1962 following Sayers' death) and then read the Ciardi translation. After that perhaps Clive James, though from what I've read so far, it seems like one to leave for later. Perhaps Hollander before James. I may add more to this review as I inevitably learn more. I will write new reviews for future translations read to compare them with one another and slowly, hopefully, grow a rather complete understanding of this seminal and magnificent work; it is a certain favourite.
But first, Mount Purgatory.
March 15, 2014
Before I start talking about the book proper, I have a confession to make: I wasn't sure I really wanted to read philosophical poetry written seven centuries ago. I had doubts about style, quality of translation and my own lack of literary background in decyphering the numerous Christian and mythological references, not to mention political and cultural trivia from Dante's Florence. Thanks to my 欧宝娱乐 friends, I took the plunge and I can report back that it was well worth the effort. Even better, it wasn't an effort, but a joyride, thanks primarily to my lucky pick of the Ciardi translation for my first foray into the phantastical world of Dante. So my answer to the questions: can we still read Dante for pleasure and not for academic study is a resounding yes. Another big Yes is the answer to the relevance of the Commedia for the modern reader. The fundamental soul searching questions about the relationship between spiritual and material life, morality and political power, religious and secular governance, reason and faith remain unchanged over centuries and must still be answered by each of us after our own fashion. Dante is as great a choice as the lightbearer showing the way to redemption, as Virgil was to the poet on his descent into Hell.
Nell mezzo del camin di nostra vita
mi ritrovai per una selva oscura
che la diritta via era smarrita."
Right from the start it is evident that the poet's major talent is to say so much with such economy of words and with such elegance. Page after page of commentary has been written about these famous opening lines. The key to deciphering the poem is here: an allegorical journey of self discovery and liberation from doubts, uncertainty and fear. Dante is the hero of his own epic poem, and he starts with a confession of how he almost lost his faith in his search for the ultimate听truth through the books of ancient philosophers and the myths and legends that have been passed on from antiquity. But Human Reason on its own is not enough, and salvation for Dante can come only by way of Divine intercession. Somebody up there loves him (Beatrice, the love of his life, symbol of purity and innocence, taken away to Heaven in her early youth). She sends a guide to help Dante on his perilous journey: the Roman poet Virgil, the mentor and personal hero of our narrator. Together they must pass through the underground halls of the damned, there to witness the justice administered by a stern God upon sinners of every variety. Only after renouncing and condemning sin, can the upward journey begin.
Lasciate ogne speranza, voi ch'intrate
Another famous quote that has entered into the world's cultural heritage marks the gate to the depths of eternal torment and despair. I have no intention of enumerating every level of the arhitecture of Hell and every lost soul that Dante and Virgil encounters. What impressed me most though was the rigid organization and the careful planning of each punishment, designed to reflect the gravity of the crime and to correctly assign the torment most appropriate for each category of sinner.听For example, thieves must steal from one another the very shapes in which they appear. Nothing is left to chance, and accurate maps can and have been drawn of the allegorical geography of Hell, its nine concentric and descending level, its dark rivers and fiery pits. Instead of chaos and anarchy I discovered an inflexible and merciless order, with Minos as the judge who weights each soul's guilt and then sends them to their correct circle and niche, like with like, crime and punishment linked together for eternity.
There is no place for pity here. Who is more arrogant
within his soul, who is more impious
than one who dares to sorrow at God's judgment.
The escalation of dread and horror is well served by the poet's imagination, who starts the journey with sights and dialogues still anchored and related to the world above, but grows more grim and grotesque as the deeper levels are reached. Monsters and tortures grow more elaborate, more frightening, more inventive with each circle, until the senses are overwhelmed and humbled. The main lesson in Hell is to be aware of the wages of sin:
O endless wrath of God: how utterly
thou shouldst become a terror to all men
who read the frightful truths revealed to me!
And an example of a gargoyle riding a centaur, an image worthy of the brush of Brueghel:
Upon his shoulders, just behind his head
a snorting dragon whose hot breath set fire
to all it touched, lay with its wings outspred.
Coming back to the sinners Dante meets in his downward journey, it should be noticed that he is not above paying back some personal political woes, by placing his contemporaries and adversaries inside particularly gruesome torture chambers. These human foibles, coupled with the apparent vanity and pride of the poet conscious of his worth as an equal of the ancient masters, are a source of humour and gentle irony at his own fallible nature, a more enchanting and entertaining portrait than his pious and hollier than thou alter ego. As a literary device, Dante uses prophecy to warn about the risks of the future of his beloved Florence, from which he was exiled by conspiracies within his own party, aided and abetted by the papal legate:
Two are honest, but none will head them. There,
pride, avarice, and envy are the tongues
men know and heed, a Babel of despair.
I should also mention the major political aspect of the poem, on one hand denouncing the corrupt and venal warring families of Tuscany, and on the other launching impassioned attacks on the degradation of the church in its power games and search for material governance. These ideas will be later developed into a pamphlet (De Monarchia) that was quickly put on the list of forbidden books by the papacy. Dante argues in favor of a secular government coupled with a church that renounces wealth and power and takes care only of the spiritual needs of its flock. He is well ahead of his time in this humanist plea for separation of powers and in his references to the ancient philosophers.
Another major appeal of the journey for me was the recognition of many of the mythological characters residing in Hell. The most often referenced sources are Ovid with his metamorphoses and Virgil with his Aeneid, but the erudition and the variety of Dante's interests (history, cosmology, art, etc) are reason enough to name him among the greatest personalities of a nascent Renaissance movement.
Much has also been said and praised about his liberation of the Italian language from the restrictions and limitations of Church latin, putting his vision into the live and colourful 'vulgata' dialect of the people. John Ciardi has this to say about the style of the poem, and he should know best, as a poet himself and a native speaker of Italian :
I do not imply that Dante's is the language of common speech. It is a much better thing than that: it is what common speech would be if it were made perfect.
Like Cervantes and Shakespeare centuries later, Dante stands as a national idol that defines a culture and makes it universal. I did try to read some of his verses in the original Italian and I was struck by the musicality and the rhythm that is so difficult to translate in another language. Ciardi did an excellent job in keeping the faith with this singsong quality of the poem, even if he is said to have taken liberties with the actual content. Not being a scholar or a purist, I was well satisfied with the result, especially as he kept the introductions and the end of canto notes to a minimum, allowing me to get immersed in the story instead of chasing endless commentaries and interpretations.
The Ciardi translation is also the reason I am reviewing separately the three books that comprise the Commedia (The Divine was apparently an appelation added by later commentators) , as I have them published individually. I should warn though that The Inferno is not a standalone book. In the big concept of Dante's allegory, it is only the first step towards salvation, and the next two books are just as important in the final judgement. I had several more notes and quotes saved, but I'll stop for now, hoping I've managed to convince some of my friends to put Dante on their reading lists. In the words of Arnie:
"I'll be back!" (After Purgatory)
Nell mezzo del camin di nostra vita
mi ritrovai per una selva oscura
che la diritta via era smarrita."
Right from the start it is evident that the poet's major talent is to say so much with such economy of words and with such elegance. Page after page of commentary has been written about these famous opening lines. The key to deciphering the poem is here: an allegorical journey of self discovery and liberation from doubts, uncertainty and fear. Dante is the hero of his own epic poem, and he starts with a confession of how he almost lost his faith in his search for the ultimate听truth through the books of ancient philosophers and the myths and legends that have been passed on from antiquity. But Human Reason on its own is not enough, and salvation for Dante can come only by way of Divine intercession. Somebody up there loves him (Beatrice, the love of his life, symbol of purity and innocence, taken away to Heaven in her early youth). She sends a guide to help Dante on his perilous journey: the Roman poet Virgil, the mentor and personal hero of our narrator. Together they must pass through the underground halls of the damned, there to witness the justice administered by a stern God upon sinners of every variety. Only after renouncing and condemning sin, can the upward journey begin.
Lasciate ogne speranza, voi ch'intrate
Another famous quote that has entered into the world's cultural heritage marks the gate to the depths of eternal torment and despair. I have no intention of enumerating every level of the arhitecture of Hell and every lost soul that Dante and Virgil encounters. What impressed me most though was the rigid organization and the careful planning of each punishment, designed to reflect the gravity of the crime and to correctly assign the torment most appropriate for each category of sinner.听For example, thieves must steal from one another the very shapes in which they appear. Nothing is left to chance, and accurate maps can and have been drawn of the allegorical geography of Hell, its nine concentric and descending level, its dark rivers and fiery pits. Instead of chaos and anarchy I discovered an inflexible and merciless order, with Minos as the judge who weights each soul's guilt and then sends them to their correct circle and niche, like with like, crime and punishment linked together for eternity.
There is no place for pity here. Who is more arrogant
within his soul, who is more impious
than one who dares to sorrow at God's judgment.
The escalation of dread and horror is well served by the poet's imagination, who starts the journey with sights and dialogues still anchored and related to the world above, but grows more grim and grotesque as the deeper levels are reached. Monsters and tortures grow more elaborate, more frightening, more inventive with each circle, until the senses are overwhelmed and humbled. The main lesson in Hell is to be aware of the wages of sin:
O endless wrath of God: how utterly
thou shouldst become a terror to all men
who read the frightful truths revealed to me!
And an example of a gargoyle riding a centaur, an image worthy of the brush of Brueghel:
Upon his shoulders, just behind his head
a snorting dragon whose hot breath set fire
to all it touched, lay with its wings outspred.
Coming back to the sinners Dante meets in his downward journey, it should be noticed that he is not above paying back some personal political woes, by placing his contemporaries and adversaries inside particularly gruesome torture chambers. These human foibles, coupled with the apparent vanity and pride of the poet conscious of his worth as an equal of the ancient masters, are a source of humour and gentle irony at his own fallible nature, a more enchanting and entertaining portrait than his pious and hollier than thou alter ego. As a literary device, Dante uses prophecy to warn about the risks of the future of his beloved Florence, from which he was exiled by conspiracies within his own party, aided and abetted by the papal legate:
Two are honest, but none will head them. There,
pride, avarice, and envy are the tongues
men know and heed, a Babel of despair.
I should also mention the major political aspect of the poem, on one hand denouncing the corrupt and venal warring families of Tuscany, and on the other launching impassioned attacks on the degradation of the church in its power games and search for material governance. These ideas will be later developed into a pamphlet (De Monarchia) that was quickly put on the list of forbidden books by the papacy. Dante argues in favor of a secular government coupled with a church that renounces wealth and power and takes care only of the spiritual needs of its flock. He is well ahead of his time in this humanist plea for separation of powers and in his references to the ancient philosophers.
Another major appeal of the journey for me was the recognition of many of the mythological characters residing in Hell. The most often referenced sources are Ovid with his metamorphoses and Virgil with his Aeneid, but the erudition and the variety of Dante's interests (history, cosmology, art, etc) are reason enough to name him among the greatest personalities of a nascent Renaissance movement.
Much has also been said and praised about his liberation of the Italian language from the restrictions and limitations of Church latin, putting his vision into the live and colourful 'vulgata' dialect of the people. John Ciardi has this to say about the style of the poem, and he should know best, as a poet himself and a native speaker of Italian :
I do not imply that Dante's is the language of common speech. It is a much better thing than that: it is what common speech would be if it were made perfect.
Like Cervantes and Shakespeare centuries later, Dante stands as a national idol that defines a culture and makes it universal. I did try to read some of his verses in the original Italian and I was struck by the musicality and the rhythm that is so difficult to translate in another language. Ciardi did an excellent job in keeping the faith with this singsong quality of the poem, even if he is said to have taken liberties with the actual content. Not being a scholar or a purist, I was well satisfied with the result, especially as he kept the introductions and the end of canto notes to a minimum, allowing me to get immersed in the story instead of chasing endless commentaries and interpretations.
The Ciardi translation is also the reason I am reviewing separately the three books that comprise the Commedia (The Divine was apparently an appelation added by later commentators) , as I have them published individually. I should warn though that The Inferno is not a standalone book. In the big concept of Dante's allegory, it is only the first step towards salvation, and the next two books are just as important in the final judgement. I had several more notes and quotes saved, but I'll stop for now, hoping I've managed to convince some of my friends to put Dante on their reading lists. In the words of Arnie:
"I'll be back!" (After Purgatory)
July 3, 2022
I did not have plans to start with Dante any time soon, but lately I had been thinking about not needing to 鈥渂e ready鈥� before I did things 鈥� in a bid to get rid of the rationalizing Devil on my left shoulder (telling me that I would need to take a few years to make sure I could understand all the references), I jumped in. There I was, 10 years younger than Dante would have been when he awoke in the woods, but nevertheless ready for a journey. I turned to my right shoulder this time, hoping to find my angel, my guide, someone who could hold my hand through Inferno as Virgil had 顿补苍迟别鈥檚 鈥� the same Dante who wept his way through the 9 circles of Hell. I had to do a double take. A middle-aged man with a rectangular face, a weird mullet, and an 80鈥檚 moustache + soul patch was sitting there, smiling at me. I was confused. I was scared. I began to cry, but I could not tell if I was sad. The waterworks were鈥� reverential? It was the lead singer of the Red Hot Chili Peppers, Anthony Kiedis.
What an odd place to have met him. I dropped to my feet.
Anthony, I said, lead the way. Sing your tunes. What the Hell, get the whole crew together. Let us sink into this blazing fire.
That angel-voiced master of the nonsense smiled. Flea won鈥檛 be able to join us today, he said, as he is busy scouring the internet for footage of a concert we played on the 25th of July, 1999鈥� Woodstock, I believe it was.
Say no more, I urged. Chad?
Chad is being Chad. He needed to have breakfast, mow the lawn, clean the toilets, do grocery shopping, run other errands, and spend some time with his dog.
Sounds like Chad, I said. And what about鈥� Him?
Anthony looked shaken to his core. Do not even think of invoking his name in the presence of such mire, such filth, he spat out.
I began to cry. I had not thought to bring up His name, but even an allusion had been beyond the realms of proper conduct. I fell to my knees, begging forgiveness. He could see that I was close to fainting, and thus surmised that I was feeling remorse.
Stand, young one, he said. If You Have to Ask, you鈥檒l never know.
We began to walk, coming across Dante and Virgil about to read the famous stone above the gates of hell: 鈥淎bandon all hope, ye who enter鈥� (Lasciate ogne speranza, voi ch鈥檌ntrate). I did not speak Italian, so Anthony had to do his best. He mentioned that he had picked up a smattering of the language Around the World, as well as in the act of reading recipes online while preparing different risottos (this is not all that he had picked up, but it was not my place to judge). He gave me a general overview of our journey of stalking Dante and Virgil 鈥� as it turned out, he had been down that same road before. He told me that currently we were on Higher Ground, and that our journey concerned The Righteous & the Wicked. We were, in other words, about to enter a Parallel Universe, vastly different to our own, coming out on the Otherside and attempting to Get on Top.
The initial part of the journey went by Easily, and I began to look forward to the deeper circles. Why would I not have done so, seeing as how we encountered famous classical poets in Circle I, Limbo? Homer, Horace, Ovid, Lucan, all names that I knew and had pretended to read in my lifetime. I started to feel slightly embarrassed. My classical knowledge should have been better by now, it really should have. For crying out loud, I hadn鈥檛 even read The Iliad, Metamorphoses, or The Aeneid. No matter, I thought. I reminded myself that I had to stop attempting to wait to read 鈥渢he big works鈥�, to do so 鈥淩ight on Time鈥�, because somehow I wouldn鈥檛 be ready 鈥� I was ready. I was there.
As the journey continued, I turned to Anthony.
I want you to Torture Me, I said.
He looked confused. I鈥� I didn鈥檛 see our relationship that way, he muttered.
No no, I said, I didn鈥檛 mean鈥� not that鈥� look 鈥� I just meant, I would like you to take me to the boundaries of discomfort, take me out of my zone of rest and relaxation.
He understood the assignment. Not a worry, he said. You want discomfort? This Is the Place, Universally Speaking. Once 顿补苍迟别鈥檚 political and geographical references begin, it will be Hard to Concentrate.
I took him at his word as we moved forward. I found that he was right 鈥� the references were sometimes out of control and not of interest on a first journey, but I was hooked regardless. There was precise symbolism in every word, every line, displayed in parallelism and structure. The Devil was truly in the details. When the 鈥渕ysterious messenger of Heaven鈥� appeared to allow the duo ahead of us to walk through the Gates of Dis and enter Circle VI, I began to cry.
Wipe your Tear, little one, Anthony said. We Can鈥檛 Stop.
I would not want to, I replied. This is One Way Traffic. I am having trouble taking in the gravity of the situation, the buzz of the place. I wish this feeling was more readily and communally available in the 21st Century.
I shed tears once again when faced with Circle VII, Round 2, The Wood of the Suicides. I felt that there was So Much I could have done and said, but remained silent, weeping as Virgil advised Dante to snap a twig off of one of the poor trees.
Coming to the Malebolge, Circle VIII, and its magnificent descending ditches, Anthony asked if I felt Dosed yet.
Oh, more than that, my good Savior, I replied. I am blown away. But beyond that, I have a question.
Go for it, little butterfly, said Anthony.
I find myself wondering where I would be if Dante was to place me in his Inferno. Do you ever think that? Where you would be?
Oh, only all the time, he answered. I think I would own property across several circles. I could settle with the carnal, maybe the gluttonous. You could make a case for the heretics, but maybe even the seducers and the panderers. Speaking of which, take a look down. Here we are, Circle VIII, Bolgia 1.
I took a look down and was immediately surprised to see someone I knew. Is that... Yoko Ono鈥檚 soul? I asked. Why is she wailing like a banshee?
I know, he said. Her soul is doomed to roam this ditch, making noises that she passes as 鈥渁rt鈥� back above ground. Let鈥檚 keep moving, there is So Much I want to show you, and I fear we are running out of time.
Other sights wowed me. Ulysses, why were you so far down? I shed a tear out of pity. The Giants at the central pit of Malebolge, what a sight that was! I shed another tear due to being mortally afraid. Anthony watched and allowed me to cry.
As we approached the final portion of our journey, he took me aside.
Hey, he said, By the Way, we are about to encounter the Poster Child of this place. Get ready. This is the climax.
I followed, only to see Satan/Lucifer/Dis/Beelzebub, gnawing on Cassius, Brutus, and of course, Judas Iscariot. I was bitterly disappointed, as I had been expecting more. I guess it was deeply symbolic in a way, as I reasoned to myself. These Are the Ways, It鈥檚 Only Natural. This is Hell, after all. Disappointment was the name of the game.
We followed the poets down Satan鈥檚 nut sack. Finally, we all walked out 鈥渙nce more beneath the stars鈥� (E quindi uscimmo a riveder le stelle).
Anthony gave me a look of pride. You ready for the next bit kid? He asked.
I wasn鈥檛 sure that I was. Will you be with me? I replied.
Wipe your tears, he said. I will be with you for most of the journey.
Most...? Now I was afraid. I began to cry.
Reader, I have spared you the trouble of the minute details of our journey and have given you some highlights only, but some further notes are worth mentioning. We can start with that very topic: notes. Mr. Ciardi鈥檚 notes were immaculate. Each canto began with a summary of what was about to follow, and the back of each canto had detailed notes that held my hand along with my spiritual guide. I was too wrapped in the spectacle to be paying attention to the terza rima rhyme scheme, at least until my stalking of Dante in Purgatorio, the story of which will follow soon. Mainly, I remember being blown away by the dark forest (selva oscura) and how pertinent it was to all our lives 鈥� I would often find myself at its mouth once every several years, and continue to do so to this day.
Even now, when I look back on the whole journey, I smile. It鈥檚 an all-knowing smile, showing less than it contains. Until next time. Until Purgatorio, where I relay what happened when Anthony took me up the mountain.
What an odd place to have met him. I dropped to my feet.
Anthony, I said, lead the way. Sing your tunes. What the Hell, get the whole crew together. Let us sink into this blazing fire.
That angel-voiced master of the nonsense smiled. Flea won鈥檛 be able to join us today, he said, as he is busy scouring the internet for footage of a concert we played on the 25th of July, 1999鈥� Woodstock, I believe it was.
Say no more, I urged. Chad?
Chad is being Chad. He needed to have breakfast, mow the lawn, clean the toilets, do grocery shopping, run other errands, and spend some time with his dog.
Sounds like Chad, I said. And what about鈥� Him?
Anthony looked shaken to his core. Do not even think of invoking his name in the presence of such mire, such filth, he spat out.
I began to cry. I had not thought to bring up His name, but even an allusion had been beyond the realms of proper conduct. I fell to my knees, begging forgiveness. He could see that I was close to fainting, and thus surmised that I was feeling remorse.
Stand, young one, he said. If You Have to Ask, you鈥檒l never know.
We began to walk, coming across Dante and Virgil about to read the famous stone above the gates of hell: 鈥淎bandon all hope, ye who enter鈥� (Lasciate ogne speranza, voi ch鈥檌ntrate). I did not speak Italian, so Anthony had to do his best. He mentioned that he had picked up a smattering of the language Around the World, as well as in the act of reading recipes online while preparing different risottos (this is not all that he had picked up, but it was not my place to judge). He gave me a general overview of our journey of stalking Dante and Virgil 鈥� as it turned out, he had been down that same road before. He told me that currently we were on Higher Ground, and that our journey concerned The Righteous & the Wicked. We were, in other words, about to enter a Parallel Universe, vastly different to our own, coming out on the Otherside and attempting to Get on Top.
The initial part of the journey went by Easily, and I began to look forward to the deeper circles. Why would I not have done so, seeing as how we encountered famous classical poets in Circle I, Limbo? Homer, Horace, Ovid, Lucan, all names that I knew and had pretended to read in my lifetime. I started to feel slightly embarrassed. My classical knowledge should have been better by now, it really should have. For crying out loud, I hadn鈥檛 even read The Iliad, Metamorphoses, or The Aeneid. No matter, I thought. I reminded myself that I had to stop attempting to wait to read 鈥渢he big works鈥�, to do so 鈥淩ight on Time鈥�, because somehow I wouldn鈥檛 be ready 鈥� I was ready. I was there.
As the journey continued, I turned to Anthony.
I want you to Torture Me, I said.
He looked confused. I鈥� I didn鈥檛 see our relationship that way, he muttered.
No no, I said, I didn鈥檛 mean鈥� not that鈥� look 鈥� I just meant, I would like you to take me to the boundaries of discomfort, take me out of my zone of rest and relaxation.
He understood the assignment. Not a worry, he said. You want discomfort? This Is the Place, Universally Speaking. Once 顿补苍迟别鈥檚 political and geographical references begin, it will be Hard to Concentrate.
I took him at his word as we moved forward. I found that he was right 鈥� the references were sometimes out of control and not of interest on a first journey, but I was hooked regardless. There was precise symbolism in every word, every line, displayed in parallelism and structure. The Devil was truly in the details. When the 鈥渕ysterious messenger of Heaven鈥� appeared to allow the duo ahead of us to walk through the Gates of Dis and enter Circle VI, I began to cry.
Wipe your Tear, little one, Anthony said. We Can鈥檛 Stop.
I would not want to, I replied. This is One Way Traffic. I am having trouble taking in the gravity of the situation, the buzz of the place. I wish this feeling was more readily and communally available in the 21st Century.
I shed tears once again when faced with Circle VII, Round 2, The Wood of the Suicides. I felt that there was So Much I could have done and said, but remained silent, weeping as Virgil advised Dante to snap a twig off of one of the poor trees.
Coming to the Malebolge, Circle VIII, and its magnificent descending ditches, Anthony asked if I felt Dosed yet.
Oh, more than that, my good Savior, I replied. I am blown away. But beyond that, I have a question.
Go for it, little butterfly, said Anthony.
I find myself wondering where I would be if Dante was to place me in his Inferno. Do you ever think that? Where you would be?
Oh, only all the time, he answered. I think I would own property across several circles. I could settle with the carnal, maybe the gluttonous. You could make a case for the heretics, but maybe even the seducers and the panderers. Speaking of which, take a look down. Here we are, Circle VIII, Bolgia 1.
I took a look down and was immediately surprised to see someone I knew. Is that... Yoko Ono鈥檚 soul? I asked. Why is she wailing like a banshee?
I know, he said. Her soul is doomed to roam this ditch, making noises that she passes as 鈥渁rt鈥� back above ground. Let鈥檚 keep moving, there is So Much I want to show you, and I fear we are running out of time.
Other sights wowed me. Ulysses, why were you so far down? I shed a tear out of pity. The Giants at the central pit of Malebolge, what a sight that was! I shed another tear due to being mortally afraid. Anthony watched and allowed me to cry.
As we approached the final portion of our journey, he took me aside.
Hey, he said, By the Way, we are about to encounter the Poster Child of this place. Get ready. This is the climax.
I followed, only to see Satan/Lucifer/Dis/Beelzebub, gnawing on Cassius, Brutus, and of course, Judas Iscariot. I was bitterly disappointed, as I had been expecting more. I guess it was deeply symbolic in a way, as I reasoned to myself. These Are the Ways, It鈥檚 Only Natural. This is Hell, after all. Disappointment was the name of the game.
We followed the poets down Satan鈥檚 nut sack. Finally, we all walked out 鈥渙nce more beneath the stars鈥� (E quindi uscimmo a riveder le stelle).
Anthony gave me a look of pride. You ready for the next bit kid? He asked.
I wasn鈥檛 sure that I was. Will you be with me? I replied.
Wipe your tears, he said. I will be with you for most of the journey.
Most...? Now I was afraid. I began to cry.
Reader, I have spared you the trouble of the minute details of our journey and have given you some highlights only, but some further notes are worth mentioning. We can start with that very topic: notes. Mr. Ciardi鈥檚 notes were immaculate. Each canto began with a summary of what was about to follow, and the back of each canto had detailed notes that held my hand along with my spiritual guide. I was too wrapped in the spectacle to be paying attention to the terza rima rhyme scheme, at least until my stalking of Dante in Purgatorio, the story of which will follow soon. Mainly, I remember being blown away by the dark forest (selva oscura) and how pertinent it was to all our lives 鈥� I would often find myself at its mouth once every several years, and continue to do so to this day.
Even now, when I look back on the whole journey, I smile. It鈥檚 an all-knowing smile, showing less than it contains. Until next time. Until Purgatorio, where I relay what happened when Anthony took me up the mountain.
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