Italian Poetry, Epic Poetry, European Fiction & Literature Classics, Christian Poetry
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Overview
In a market crowded with translations of Dante's poetic masterpiece, Michael Palma sets himself apart. He has rendered Inferno into contemporary American English while maintaining Dante's original triple-rhyme scheme. Unlike every known translator before him, Palma re-creates Inferno in all its dimensions, without emphasizing some aspects over others. The result is a translation that can be appreciated for its literal faithfulness and beautiful poetic form. Palma is a poet who often uses traditional forms, and he is a translator who works to preserve the poetic form of the original. In undertaking a triple-rhyme translation of Inferno, Palma defies the conventional wisdom of literary commentators, who have long argued that it cannot be done. The translation is accompanied by facing-page Italian and by explanatory notes.Synopsis
The first of the 3 canticles in La divina commedia (The Divine Comedy), this 14th-century allegorical poem begins Dante's imaginary journey from Hell to Purgatory to Paradise with his sojourn among the damned. There he encounters historical and mythological creatures — each symbolic of a particular vice or crime. Translated beautifully by Henry Wadsworth Longfellow.
Richard Wilbur
I think highly of Michael Palma's Inferno....Readers will find it admirably clear and readable.
Editorials
Charles Martin
The best I have ever come across.Harper's Monthly
As a crown to his literary life, Longfellow combines his exquisite scholarship and his poetic skill and experience in the translation of one of the great poems of the world.John Ahern
As a translation into triple rhyme I believe that Palma's work will become the translation of choice for most readers.Lawrence Ferlinghetti
I find Michael Palma's Inferno to be one that I'm having a hard time improving.North American Review
Longfellow, in rendering the substance of Dante's poem, has succeeded in giving also -- so far as art and genius could give it -- the spirit of Dante's poetry.Richard Wilbur
I think highly of Michael Palma's Inferno....Readers will find it admirably clear and readable.William Dean Howells
Here at last that much suffering reader will find Dante's greatness manifest, and not his greatness only, but his grace, his simplicity, and his affection... Opening the book we stand face to face with the poet, and when his voice ceases we may well marvel if he has not sung to us in his own Tuscan.β The Nation
X. J. Kennedy
His wonderfully readable translation comes close to perfection. I'm tempted to call it a miracle.Publishers Weekly
The opening canzone of Dante Alighieri's The Divine Comedy has appeared in almost every imaginable variety of English translation: prose, blank verse and iambic pentameter; unrhymed or in terza rima; with and without the original Italian; with commentary ranging from a few notes to a full separate volume. The translations have been produced by poets, scholars and poet-scholars. In the past six years alone, six new translations of the Inferno have appeared (including Robert Pinsky's 1994 rendition for FSG) and at least 10 others remain in print, including Allen Mandelbaum's celebrated 1980 translation (Univ. of Calif. Press and Bantam) and the extensively annotated editions of Charles Singleton (Princeton Univ. Press) and Mark Musa (Univ. of Indiana Press), the latter two unlikely to be surpassed soon in terms of extensiveness of commentary. Dante scholar Robert Hollander and the poet Jean Hollander bring to this crowded market a new translation of the Inferno that, remarkably, is by no means redundant and will for many be the definitive edition for the foreseeable future. The heart of the Hollanders' edition is the translation itself, which nicely balances the precision required for a much-interpreted allegory and the poetic qualities that draw most readers to the work. The result is a terse, lean Dante with its own kind of beauty. While Mandelbaum's translation begins "When I had journeyed half of our life's way,/ I found myself within a shadowed forest,/ for I had lost the path that does not stray," the Hollanders' rendition reads: "Midway in the journey of our life/ I came to myself in a dark wood,/ for the straight way was lost." While there will be debate about the relative poetic merit of this new translation in comparison to the accomplishments of Mandelbaum, Pinsky, Zappulla and others, the Hollanders' lines will satisfy both the poetry lover and scholar; they are at once literary, accessible and possessed of the seeming transparence that often characterizes great translations. The Italian text is included on the facing page for easy reference, along with notes drawing on some 60 Dante scholars, several indexes, a list of works cited and an introduction by Robert Hollander. General readers, students and scholars will all find their favorite circles within this layered text. Copyright 2000 Cahners Business Information.Library Journal
Dante's Divine Comedy remains an invitation and challenge for modern poets and translators how to provide an aid for scholars but also to suggest something of Dante's greatness as a poet. Recent verse translations include those of Allen Mandelbaum (1980), Robert Pinsky (1994), Marc Musa (1995), and Peter Dale (1997), and Robert Durling has created a good prose version (1996). Palma, a poet who has provided English renditions of the poetry of Alfredo De Palchi, Guido Gozzano, and Diego Valeri, among others, takes up the challenge with commendable results. Like Dale, and unlike the rest, he attempts to capture Dante's terza rima, which is a challenge in rhyme-poor English. However, Palma's diction and syntax capture the range and vigor of the Inferno more accurately than that of his colleagues. Palma includes a minimum of notes to identify major figures and explain his reading of selected lines. This edition includes the Italian on the facing page. A superb translation; highly recommended for all libraries. T.L. Cooksey, Armstrong Atlantic State Univ., Savannah, GA Copyright 2001 Cahners Business Information.Kirkus Reviews
This new blank verse translation of the first "Canticle" of Dante's 14th-century masterpiece compares interestingly with some of the recent English versions by American poets, though it suffers particularly by comparison with Allen Mandelbaum's graceful blank verse one. Its aim to provide "a clear, readable English version that nevertheless retains some of the poetry of the original" is only imperfectly fulfilled, owing partly to moments of unimaginative informality ("In Germany, where people drink a lot"), though these are intermittently redeemed by simple sublimity ("Night now revealed to us the southern stars,/While bright Polaris dropped beneath the waves./It never rose again from ocean's floor"). Translator Zappulla, an American Dante scholar and teacher, offers helpful historical and biographical information in an Introduction and exhaustive Notes following each of the poem's 34 "Cantos." Readers new to Dante may find his plainspoken version eminently satisfying; those who know the poem well may be disappointed by it.Book Details
Published
August 1, 2008
Publisher
BiblioBazaar
Pages
400
Format
Paperback
ISBN
9780559047367