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Editorial Reviews
From Library Journal
If a recent spate of new translations is any evidence, Dante remains as popular as ever with the general reading public. Durling's new verse translation of the Inferno joins recent versions by Robert Pinsky (LJ 1/93) and Mark Musa (LJ 3/1/95). While Durling's translation (with Italian on the facing page) does not use Dante's rhyme or line divisions, it captures the metrical rhythm of the original. Similarly, his rendering of Dante's diction is literal and accurate, conveying the tone and feel while remaining accessible. Supplemented with an introduction, useful notes, and appendixes, this version, soon to be joined by Purgatorio and Paradiso, can be recommended to the general reader. In a new reader's guide to the Divine Comedy, Gallagher, a Catholic priest as well as a poet and scholar, presents the Comedy canto by canto in a series of mini-essays that discuss content, themes, characters, major allusions, and religious doctrines, particularly from the perspective of Dante as a Christian. For a more scholarly commentary on Dante's language and sources, one should still consult Charles Singleton's translation (The Divine Comedy, 6 vols., Princeton Univ., 1970-75); nevertheless, Gallagher's thorough, lucid, and accessible guide is a good starting point for the general reader.?Thomas L. Cooksey, Armstrong State Coll., Savannah, Ga.
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From 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. -- Copyright ©1998, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
If a recent spate of new translations is any evidence, Dante remains as popular as ever with the general reading public. Durling's new verse translation of the Inferno joins recent versions by Robert Pinsky (LJ 1/93) and Mark Musa (LJ 3/1/95). While Durling's translation (with Italian on the facing page) does not use Dante's rhyme or line divisions, it captures the metrical rhythm of the original. Similarly, his rendering of Dante's diction is literal and accurate, conveying the tone and feel while remaining accessible. Supplemented with an introduction, useful notes, and appendixes, this version, soon to be joined by Purgatorio and Paradiso, can be recommended to the general reader. In a new reader's guide to the Divine Comedy, Gallagher, a Catholic priest as well as a poet and scholar, presents the Comedy canto by canto in a series of mini-essays that discuss content, themes, characters, major allusions, and religious doctrines, particularly from the perspective of Dante as a Christian. For a more scholarly commentary on Dante's language and sources, one should still consult Charles Singleton's translation (The Divine Comedy, 6 vols., Princeton Univ., 1970-75); nevertheless, Gallagher's thorough, lucid, and accessible guide is a good starting point for the general reader.?Thomas L. Cooksey, Armstrong State Coll., Savannah, Ga.
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From 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. -- Copyright ©1998, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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