 [Larger view] | Divine Comedy, The : Volume 1: Inferno (Penguin Classics)
| ||||||||||||
| |
Average user rating:  | |
| Flowing, Lucid Translation and Notes | |
| About twenty years ago I read Dorothy Sayers's translation of Dante's "Divine Comedy" with great pleasure, finding an awesome grandeur in Dante's progression from Hell through Purgatory to Heaven. When I decided to re-read the work, I found the poetry tortured and the references obscure. So I went comparison shopping, settling on Mark Musa's version. He created an excellent, free-flowing, poetic, and easily understandable translation of the three canticles of Dante's "Divine Comedy" for Penguin Classics. In addition to the direct translation, Musa provides an introductory summary to each canto, detailed notes following each canto, a glossary of names in the back of each volume, and an introductory essay for each volume. The introduction to "Volume 1: Inferno" gives a thorough introduction to Dante and to his other works as well as to the Inferno. Following the introduction is a translator's note. The introductions to "Purgatory" and "Paradise" do not go over the extra information presented in "Inferno". It is useful to read all three of Dante's canticles in the Musa translation to get a complete, consistent presentation of the work. Musa does make reference in his notes to one volume to ideas or people presented in the others. The notes are vital for almost everyone. The references to Biblical, classical, and medieval personalities, myths, time systems, theology, and events come frequently. Few people are up on the ins and outs of Guelf vs. Ghibelline in medieval Italian politics. Musa makes it all as clear as it needs to be. Musa's version of "Inferno" italicizes the introductory summary before each canticle and retains the detailed, interesting mappings of Hell used in the Sayers edition. Dante's poem is central to Western civilization. Allowing for some poetic necessities, it pulls classical and medieval history into the framework of Christian theology to show how God's love powers the universe, how people can exercise free will, and how God can help and reward those who trust in Him. It is very easy for the reader to ask how he or she would fare in the afterlife and how to go about finding a better outcome. Some sins are punished severely [like traitors frozen near Lucifer in the ice of the Cocytus lake], and some sins have varying outcomes [E.g., there are some sodomites running on the burning sand of Lower Hell forever and some having their sins burned way in the last stage of Purgatory before going to Paradise.]. Some loves are more blessed than others too. There is much to reflect on. Dante the Pilgrim, drawn by his love for Beatrice gets the full experience. Reading "The Divine Comedy" is valuable in any translation; Musa's flies along, bringing his audience along with understanding. This review for "Inferno" applies to "Purgatory" and "Paradise" as well, since the productions are so comparable. | |
| The Best Way to Read this Epic Poem | |
| Mark Musa's translation of the Divine Comedy is the smoothest, most enjoyable version I have read. (I've read a few.) Mr. Musa provides a brief summation at the beginning of each Canto of Dante's Inferno. He then follows the summation with the actual poem (his translation), and then, after each Canto, he gives in-depth notes on all the references Dante has made -- which may often be obscure to the modern reader. This version is perfect for high-school and college students as well as the leisure time reader who simply wants to become acquainted with this foundation of Western poetry. The Inferno is the first volume of the Divine Comedy and tells the story of how Dante is taken by the spirit of Virgil through the depths of Hell. The scenes and characters that they encounter cover many different human emotions; mostly sorrowful ones while Dante and Virgil are in Hell. This first volume is the most famous of the three, but Mark Musa's translation makes it so quick and entertaining to read, that I think most will find themselves wanting to continue on into the final two volumes, which I would highly recommend in order for one to obtain the entire perspective of this brilliant poem. | |
| Terrific as an introductory translation | |
| What is there to say about the Inferno itself? Given the sheer volume of references to this work in film, literature, and, indeed, every facet of western culture, anyone looking to understand deeply should read the Divine Comedy (but you can scrape by just reading the Inferno). The Musa translation is extremely accessible. I believe that anyone encountering it for the first time should use the Musa text. Beautiful, livid, and crystal clear. |
