Location via proxy:   [ UP ]  
[Report a bug]   [Manage cookies]                

Discover millions of ebooks, audiobooks, and so much more with a free trial

Only $11.99/month after trial. Cancel anytime.

Inferno
Inferno
Inferno
Ebook447 pages7 hours

Inferno

Rating: 4 out of 5 stars

4/5

()

Read preview

About this ebook

"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."—William Dean Howells, The Nation
"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."—Harper's Monthly
Enter the unforgettable world of The Inferno and travel with a pair of poets through nightmare landscapes of eternal damnation to the very core of Hell. The first of the three major canticles in La divina commedia (The Divine Comedy), this fourteenth-century allegorical poem begins Dante's imaginary journey from Hell to Purgatory to Paradise. His encounters with historical and mythological creatures--each symbolic of a particular vice or crime--blend vivid and shocking imagery with graceful lyricism in one of the monumental works of world literature.
This acclaimed translation was rendered by the beloved nineteenth-century poet, Henry Wadsworth Longfellow. A skilled linguist who taught modern languages at Harvard, Longfellow was among the first to make Dante’s visionary poem accessible to American readers.
LanguageEnglish
Release dateMar 2, 2012
ISBN9780486112619
Author

Dante Alighieri

Dante Alighieri (1265-1321) was an Italian poet. Born in Florence, Dante was raised in a family loyal to the Guelphs, a political faction in support of the Pope and embroiled in violent conflict with the opposing Ghibellines, who supported the Holy Roman Emperor. Promised in marriage to Gemma di Manetto Donati at the age of 12, Dante had already fallen in love with Beatrice Portinari, whom he would represent as a divine figure and muse in much of his poetry. After fighting with the Guelph cavalry at the Battle of Campaldino in 1289, Dante returned to Florence to serve as a public figure while raising his four young children. By this time, Dante had met the poets Guido Cavalcanti, Lapo Gianni, Cino da Pistoia, and Brunetto Latini, all of whom contributed to the burgeoning aesthetic movement known as the dolce stil novo, or “sweet new style.” The New Life (1294) is a book composed of prose and verse in which Dante explores the relationship between romantic love and divine love through the lens of his own infatuation with Beatrice. Written in the Tuscan vernacular rather than Latin, The New Life was influential in establishing a standardized Italian language. In 1302, following the violent fragmentation of the Guelph faction into the White and Black Guelphs, Dante was permanently exiled from Florence. Over the next two decades, he composed The Divine Comedy (1320), a lengthy narrative poem that would bring him enduring fame as Italy’s most important literary figure.

Read more from Dante Alighieri

Related to Inferno

Related ebooks

Poetry For You

View More

Related articles

Reviews for Inferno

Rating: 4.102725277812719 out of 5 stars
4/5

2,862 ratings86 reviews

What did you think?

Tap to rate

Review must be at least 10 words

  • Rating: 4 out of 5 stars
    4/5
    A handsome book, but a clunky and awkward translation.
  • Rating: 5 out of 5 stars
    5/5
    Dante's journey through Hell ranks in my top 5 favorite books. I especially like this translation, as it keeps the language modern enough to be readable, but is still beautiful. Also, there are plenty of foot and end notes to explain middle age-phrases and historical references many people may not be familiar with.
  • Rating: 4 out of 5 stars
    4/5
    Amazing and bizarre. To have lived in a time awhen the fires and ice of hell were as real as the sun rising each day. The horrors of The Inferno were certainly cautionary, but not exactly in keeping with what modernity would deem the correct weight of sins. On to Purgatorio.
  • Rating: 3 out of 5 stars
    3/5
    Gave me nightmares.
  • Rating: 4 out of 5 stars
    4/5
    I read the Longfellow translation and despite a huge lack of historical knowledge about Dante's contemporary Florence I really enjoyed Inferno.

    The imaginative punishments are gruesome enough to capture your attention and the whole poem is successful in painting quite a visual image of Dante's incarnation of hell.

  • Rating: 4 out of 5 stars
    4/5
    Peter Thornton's verse translation of the first book of the Divine Commedy, The Inferno, is certainly readable. To the extent that that was an (the?) intention it succeeds. I think for a general reader who just wants to know why The Inferno has remained influential this will serve them well. There are plenty of contextualizing notes, a must for just about any translation, which will make understanding why certain people are where they are comprehensible to a contemporary reader.For study purposes I have my doubts but I have my own favorite translations so am doing more of a comparison than simply an isolated assessment. First, my preferred verse translation is still Ciardi's version (plus, if for study purposes, he translated all of the Comedy not just one book so you don't have to change translations when you leave the Inferno). Part of my favoritism here is likely because it was the third version I had read and the first with a professor who made it come alive for me, so I do want to acknowledge that. Part of it for me is how the translators try to solve the issue of form. Some compromise is necessary to make an English translation and I am not sure there is a right vs a wrong way, they will all fall well short of Dante in Italian. I just think that wrestling with a form closer to Dante's helps students to slow down and do a better close reading while making it too easy to read turns Dante's work into simply a story that can be read quickly and easily. Again, this is personal opinion and preference. The necessary notes will keep the work from being read like a contemporary novel and could, with the right effort from an instructor, keep the reading close. I just have a hard time imagining The Inferno as an easy read and hope not to see this type of translation of Purgatorio or Paradiso since those should be more difficult to grasp in keeping with Dante's apparent intentions.I would certainly recommend this to general readers who just want to read it and maybe for high school classes that want to get through it with just a few areas of closer reading. I would also recommend instructors look at it and decide if this translation would serve their purposes for what they hope to achieve in their courses. It is a good translation even though I would personally choose not to use it.Reviewed from a copy made available by the publisher via Edelweiss.
  • Rating: 2 out of 5 stars
    2/5
    This translation replaced names- so many names! Added modern phrases.

    I appreciate that I may not have been able to real the original(or earlier translation) so easily (well, I'm not sure, but this is the only translation I've read) but I could not accept the replacement of the names. South Park's Cartman? Please. I prefer purer translations. The the addition of modern phrases and names stuck out like a sore thumb. I would be reading easily, then get so thrown off that I had to stop.

    Now, I've read this, and I don't know how much of it was from the original, and how much the translator replaced. Now I feel like I have to re-read it, with a different translation.

    It wasn't written in 2013, so don't translate it like it was. Please.

    What was intact, the messages and the stories, all that makes this a classic, earns my four stars. Since I'm rating this particular translation, however, I'm giving it two. If I find out later that earlier translations are written in a way that I can easily read, then I'll come back and only give it one star.

  • Rating: 3 out of 5 stars
    3/5
    Only three stars for Dante's classic? It was a difficult read/listen and required concentration as the translation from old italian poetry into english. I also wondered about the parallel between Inferno and A Christmas Carol...both contain scarey beasties.
  • Rating: 5 out of 5 stars
    5/5
    For years I had wanted to read Dante's Divine Comedy, but every time I thought of reading this epic poem it just seemed to be too daunting of a task. It wasn't until I visited Florence, Italy and saw the same mosaic on the ceiling of the baptistery of San Giovanni that Dante saw (which inspired him to eventually write the Divine Comedy) that I felt it the time had come to read Dante's epic work.

    I started with the traditional English translation by Longfellow. At the encouragement of of a colleague, I quickly changed to Dorothy Sayers's translation from 1949. Sayers provides great commentary plus follows "Dante's terza rima stanzas."

    There are numerous translations available but I'm glad I stuck with the Sayers translation. Having said that, I think it would be wise to read the traditional Longfellow translation at some point in time. Next up I'm looking forward to trying Robert and Jean Hollander's dual-language and more modern translations of the Divine Comedy.
  • Rating: 5 out of 5 stars
    5/5
    This is an amazing translation of the Inferno. It is by far the best translation of the text that I have encountered, and it is far superior to the version included in the World Literature textbook that I use. I always share some of this translation with my students particularly when we are discussing Dante's terza rima. Translations are never ideal, but this translation is the best available.
  • Rating: 3 out of 5 stars
    3/5
    Basically, Dante made a list of people he didn't like and put them all in Hell. Disturbing imagery abounds and there are loads of interesting references to mythology. But it's not exactly summer reading. Glad I read it from an academic perspective, but to be honest it was a little bit of a slog. Perhaps if I knew more about Italian history I would have appreciated it a little more.
  • Rating: 4 out of 5 stars
    4/5
    I listened to this book on CD instead of actually reading it. The version that I had had an explination at the beginning of each verse to help you understand and then read the verse.

    In this book, you travel with Dante through the 9 circles of hell.

    I really liked this book. I forgot how much I liked Greek Mythology (which I did not expect in this book at all). It has pushed me to look into more mythology again.
  • Rating: 5 out of 5 stars
    5/5
    I never would have understood this book if my professor hadn't guided the class through it. Regardless, it became one of the most interesting piece's of literature I have ever read. I frequently think about. 'Abandon Hope All Ye Who Enter Here," says the sign above the entrance to hell. Now, that's cool . . . I mean hot. Whatever.
  • Rating: 3 out of 5 stars
    3/5
    I kinda didn't love this as much as I wanted to. The fault might be Pinsky's; he uses a lot of enjambment, which makes the poem a more graceful, flowing thing than Dante's apparently was. It might also be Dante's fault; there are a ton of allusions to contemporary politics, none of which I got at all, so I did a lot of flipping to the end notes. And, y'know, it's a little...religious. I know, who woulda thought?

    I liked it okay, I guess, but I've been reading a ton of epic poetry over the last year, and this hasn't been one of my favorites.
  • Rating: 5 out of 5 stars
    5/5
    Not entirely sure what translation this was, as it was a free ebook. In any case, it was a little difficult to read at times, but it seemed okay as a translation. The text itself is beautiful: I wish I could read it in the original.
  • Rating: 3 out of 5 stars
    3/5
    Mildly amusing, though this ostensibly pure Christian author clearly has a perverse streak running through him. (As does the Christian God, so not surprising.)
  • Rating: 5 out of 5 stars
    5/5
    If you haven't walked through Hell with Dante, I highly recommend you do so immediately. It's quite nice.
  • Rating: 5 out of 5 stars
    5/5
    Fantastic, even though the Sayers translation may give up too much in the battle to stick to the terza rima scheme. It's not a fatal flaw by any means, but the tendency is particularly noticeable in some of the classic lines: "I could never have believed death had undone so many" becomes "It never would have entered my head / There were so many men whom death had slain" in order to cram the square English into the round Italian.
  • Rating: 3 out of 5 stars
    3/5
    I read the Ciardi translation in college, and this had a similar feel. It read a little more like prose than poetry--it's unrhymed, though it still has a nice rhythm. Really drags when you get closer to the end, though.
  • Rating: 2 out of 5 stars
    2/5
    Almost totally pointless to read without an extensive grounding in 13th century Italian political history. I'm not surprised that Dante took the narrative of exploring hell as an opportunity to portray the supposedly deserved suffering of various recent historical figures he hated but I was not prepared for the extent to which he single-mindedly devoted the Inferno to this purpose and nothing else, just one long catalog of medieval Italians I'd never heard of and what a just God would posthumously wreak on them. Also Simon told me there's a cute fan-fictioney current to the relationship with Virgil, and I thought he was exaggerating but no, it's definitely there - there's one point where Dante talks about how one of his slams on these dead Italian assholes was so on target that Virgil decided to show how happy he was with it by carrying Dante around in his big strong poet arms for a while. Anyway this is cute and gay but it's not enough to carry my interest through the book.
  • Rating: 4 out of 5 stars
    4/5
    Obviously an amazing work. I just got bogged down in the middle, and it took me forever to finish. I think I would have gotten far more out of it in the context of a class that dealt with the many layers of references, or if I had simply taken more time to read the notes...but as it was, I just didn't really commit to it on a level that could remotely do it justice. I still look forward to reading Purgatorio and Paradiso, though.
  • Rating: 5 out of 5 stars
    5/5
    This past spring I took a class on Dante in which we read the entirety of The Commedia. After taking some time to think through and digest this massive poem, I think I am finally ready to write my review.At the opening of the poem, Dante awakes to find himself lost in a dark wood. Unable to leave the valley, he is greeted by the shade of Virgil, who tells him that he has been sent by Mary and Dante's dearly departed Beatrice to guide Dante through Hell, Purgatory, and eventually to the highest parts of Heaven. Although Dante is initially reluctant to go, he eventually follows Virgil down into the mouth of Hell. While the idea of reading such a long old poem seems daunting, the language and imagery that Dante uses makes it as compelling and fresh as if it were written yesterday. It is, first and foremost, a journey, and the sights the pilgrim sees on his journey to the bottom of Hell are described in vivid and sometimes gross detail. Hell is a very physical place, full of bodies and bodily functions, and Dante doe snot skimp on the imagery. But as often as his language is crude, it is at times stunningly beautiful. There were similes that absolutely stopped me in my tracks with their perfection and beauty. If you want to read the Inferno for the first time, read it like a novel. Jump in, enjoy the story, gawk at the imagery, and stop to relish the beautiful passages.Just as Dante the pilgrim takes Virgil as his guide through Hell, Dante the poet uses Virgil as a poetic guide in his attempt to write an epic that encompasses religion, politics, history, and the human experience. In each circle, Dante meets a new group of sinners who are in Hell for different reasons. The first thing to note about the damned is that they seem to be mostly from Florence. Seriously, sometimes I think Dante wrote this just so he could shove everyone he didn't like into the fiery pit. But in all seriousness, Dante's goal wasn't just to describe the afterlife, he was also trying to describe life on earth. By putting people from Florence in Hell or Heaven, Dante was commenting on what was happening in Italy at the time. Most important for Dante was the corruption he saw in the church, so there are entire cantos of the Inferno devoted to religious leaders, especially Popes, and especially Boniface, who was Pope at the time Dante was writing.The other thing to note about the damned is how relatable they are, at least in the beginning. When you meet Paolo and Francesca in Canto V and listen to Francesca's story, you can't help but be drawn in and pity her. Dante the pilgrim pitied her too, and swoons (again, seriously, he spends like the first 10 cantos swooning left and right) due to his empathy for them. Again and again the pilgrim pities the damned, but as the canticle goes on this happens less and less. By the end of the canticle he has stopped pitying the shades at all, and instead feels that their damnation is deserved. Why did Dante the poet make the pilgrim transforming such a way? Just as the description of Hell also serves as a description of Earth and of the nature of the human soul, the pilgrim's journey through the afterlife mirrors the soul's journey from the dark wood of sin and error to enlightenment and salvation. Dante is at first taken in by the sinners because he is not wise enough to see through their excuses. He is too much like them to do anything other than pity them. As he goes through Hell, he learns more and shakes off the darkness of the wood, so that by the time he gets to the bottom he no longer pities the damned. Still, even in the lowest circles, the shades are all deeply human, and their stories of how they ended up in Hell are incredibly compelling.Dante the poet shows again and again how similar the pilgrim and the damned really are. He constantly explores sins that he could have committed or paths that he could have taken, exposing his own weaknesses and confronting what would have been his fate if Beatrice and Mary had not sent Virgil to save him. I think it speaks to his bravery as a poet that he insisted on exposing not just the weaknesses in society, but also the weaknesses in his own character.Dante the poet is also brave, I think, for tackling some very serious theological, political, and psychological issues. When Dante the pilgrim walks through the gate of Hell, the inscription on the gate says that the gate and Hell itself were made by "the primal love" of God. Here, Dante tackles one of the greatest theological questions; how can a just and loving God permit something as awful as Hell? While the real answer doesn't come until the Paradiso, Dante was brave to put that question in such stark and paradoxical terms. Dante's constant indictments of the political and religious leaders of his day show bravery, intelligence, and a good degree of anger on his part. Before writing the Inferno, Dante had been exiled from his home city of Florence for being on the wrong side of a political scuffle. He was never able to return home, and his anger at the partisanship that caused his exile mixed with his longing for his home make the political themes of the poem emotionally charged and interesting to the reader, even now.Lastly, Dante shows both bravery and a great deal of literary skill in his treatment of Virgil. Virgil is Dante's guide through Hell and, later, Purgatory. He leads Dante every step of the way, teaching him like a father would, protecting him from daemons and even carrying him on his back at one point. It is clear that Dante admires Virgil, and in some ways the poem is like a love song to him. Virgil, living before Christ, was obviously not Christian, so Dante's choice of Virgil as a guide through the Christian afterlife is really quite extraordinary. It shows that wisdom can be attained from the ancient world, and that the light of human reason, which Virgil represents, is necessary for the attainment of enlightenment and salvation. Dante believed strongly that reason and faith were not opposites, but partners, and his choice of Virgil as a guide is a perfect illustration of that principle.But, despite Dante's love of Virgil, Virgil is, to me, one of the most tragic characters in literature. Virgil, as a pagan, cannot go to Heaven. He resides in Limbo, the first circle of Hell, home of the virtuous pagans. There, he and the other shades (including Homer, Plato, and others) receive no punishment except for their constant yearning for Heaven and the knowledge that they will never see the light of God. Virgil, at the request of Mary and Beatrice, leads Dante toward a salvation that he can never have. Human reason can only lead a soul so far; to understand the mysteries of Heaven one has to rely on faith and theology. Virgil's fate is the great tragedy of this otherwise comic poem, and the knowledge of that fate haunts the first two canticles. And while it makes sense thematically and in terms of the plot, Dante makes you love Virgil so much that his departure in the Purgatorio never really feels fair. I still miss him.The Inferno is a long and complex poem, filled with vivid imagery, vast psychological depth, scathing social commentary, and deep theological questions. It is also a journey, a real adventure in a way, and a pleasure to read. Though the real fulfillment of Dante's themes does not come until the Paradiso, the Inferno is well worth reading on its own. Even if you don't go on to read the other two canticles, reading The Inferno is time well spent.
  • Rating: 5 out of 5 stars
    5/5
    Excellent prose translation. The essays at the end of each canto are worth the price of the book,
  • Rating: 5 out of 5 stars
    5/5
    This is an amazing achievement. I spent so much time and energy researching this book during undergrad. So many hidden meanings, so many codes and metaphors. This translation is superior to anything else I've seen and is well bound. Its nice to have Italian right next to the English. The notes are excellent, not the penguin edition is bad, its you can tell that the Hollanders have done their homework with a passion. I can't wait to read again, but first I think some more thorough reading on the popes first.
  • Rating: 4 out of 5 stars
    4/5
    The first time I read this was in high school. At the time, it was a 2½ star book...nothing special, the teacher didn't do as much with it as she might have done, I got through it and moved on.The second time I read this was in college in a course I was auditing (therefore, no grade pressure) from a professor who not only was a well-known authority but...more important...lived, breathed, ate and slept Dante. It made a world of difference. The book becomes much more alive if you understand the political situation of the day, the personal relationships in Dante's life, the references to other things going on in the world at that time.I recommend reading this to anyone with any interest. However, if you can't do it under the tutelage of someone who knows this stuff, I would recommend a well-annotated edition.
  • Rating: 5 out of 5 stars
    5/5
    I had a collected copy of The Divine Comedy which I gave up for these three volumes. Inferno was excellent. I felt that it lived up to the translation that I read, and surpassed it in some ways. With the addition of contemporary pop-culture references throughout, we have a Hell in a very faithful to the original work. I definitely recommend these books to anyone who’s interested in The Divine Comedy.
  • Rating: 4 out of 5 stars
    4/5
    This particular translation is interesting because it attempts to retain Dante's original three line rhyming scheme.
  • Rating: 5 out of 5 stars
    5/5
    gotta love dante...he made a synthetic world in what 1200 or so? there are maps of the inferno, even, but not in this edition. the inferno is the midlife crisis to end all midlife crises, although no red sportscars were involved.
  • Rating: 5 out of 5 stars
    5/5
    The Inferno is a classic among classics. Dante's vision, along with Milton's "Paradise Lost", form the very basis for society's concept of HELL. A must read for any literary buff.
  • Rating: 4 out of 5 stars
    4/5
    A nicely done translation, but at times I sensed the author tried to impose his voice over Dante's, and while he is good, he is no Dante. I still prefer Wordsworth.

Book preview

Inferno - Dante Alighieri

e9780486112619_cover.jpge9780486112619_i0001.jpg

DOVER THRIFT EDITIONS

GENERAL EDITOR: MARY CAROLYN WALDREP

EDITOR OF THIS VOLUME: JENNY BAK

Bibliographical Note

This Dover edition, first published in 2005, is a republication of Longfellow’s translation of The Inferno with his accompanying notes, originally published in 1886 in The Divine Comedy of Dante Alighieri: Inferno, Volume IX of The Works of Henry Wadsworth Longfellow by Houghton Mifflin and Company, Boston. The two stanzas of poetry that Longfellow used to precede his translation of The Inferno (see page v) are from Voices of the Night—his first book of poems—originally published in 1839 by John Owen, Cambridge, Massachusetts.

Library of Congress Cataloging-in-Publication Data

Dante Alighieri, 1265–1321.

[Inferno. English]

The inferno / Dante Alighieri ; translated and with notes by Henry Wadsworth Longfellow.

p. cm.

Originally published: New York : Houghton Mifflin, 1886.

9780486112619

1. Longfellow, Henry Wadsworth, 1807–1882. II. Title.

PQ4315.2.L6513 2005

851’.1—dc22

2005041290

Manufactured in the United States of America

Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y. 11501

Table of Contents

Title Page

Copyright Page

Note

THE INFERNO

NOTES

DOVER • THRIFT • EDITIONS

Note

DANTE ALIGHIERI (1265–1321), born in Florence, would have a lifelong affinity with his beloved city, even after being exiled in his later years. At the time of his birth, Italy was divided between those who supported the papacy, and those who were loyal to the German rulers of the Holy Roman Empire. Shortly after his birth, the Guelfs, with the help of French and papal troops, were successful in driving the pro-imperial Ghibellines from the city of Florence. This victory ushered in a period of Florentine prosperity, as well as its heightened stature among other Italian cities, and attracted a host of intellectuals there with whom Dante came to associate.

As a disciple of master rhetorician Brunetto Latini, Dante was influenced by his mentor’s approach to philosophy and politics, and was also schooled in the burgeoning poetical movement in Italy. Dante became instrumental in the advancement of Stilnuovo (New Style) poetry, by which he and friends Guido Cavalcanti and Cino de Pistoia used verse to analyze the psychology of love. Inspired by Latini’s desire to employ the vernacular in literary works, Dante also pioneered the practice of using the laymen’s Italian in literature, rather than the more technical Latin. At that time, there was no single Italian language; rather, people spoke local dialects that were all derived from Latin. Predictably, Dante chose to write many of his works in his native Florentine dialect.

Dante soon entered into local politics, joining a medical guild by way of his reputation as a philosopher. In 1300, he was elected priore, an office that granted him the power and burden of political involvement in turbulent Florence. At this time, the Florentine Guelfs were experiencing division within its party, and split into two factions—the Blacks and the Whites. Dante was a member of the Whites, who objected to the imperialistic ambitions of Pope Boniface VIII, and eventually lost control of the city. Detained at the Vatican, where he had gone as an emissary to speak to the pope, Dante was tried in absentia for crimes fabricated by the Blacks. Sentenced to death by burning should he ever return, Dante never again set foot in Florence. Instead, he roamed from city to city in Italy, where he was welcomed by scholars and nobles alike. He continued in his interest in politics, recording observations and writing a number of discourses on the volatile events of his time. He died in the city of Ravenna in 1321.

Dante began work on The Divine Comedy around 1308, and completed it shortly before his death. Originally titled Commedia (Comedy), the work adopted its lofty epithet after Dante was named Divine Poet by scholar Giovanni Boccaccio a few decades after his death. An epic poem that was his masterpiece, The Divine Comedy traces Dante’s imagined journey through the three levels of the Roman Catholic afterlife—Hell, Purgatory, and Heaven. The first canto of The Inferno serves as an introduction to the entire poem, followed by the standard thirty-three cantos that serve as the structure for the two other canticles. Guided through the Inferno (Hell) by the exalted Roman poet Virgil, Dante travels through the nine levels of damnation, an ingenious architecture organized carefully by severity of sins. Encountering myriad figures from history and mythology, Dante weaves a tapestry of characters and stories that serve to illustrate human fallibility that results from the religious concept of free will. At once an allegory of man’s spiritual pilgrimage through life, as well as a thinly veiled political commentary on the circumstances of Dante’s own exile, The Divine Comedy is a brilliant, multi-layered work that transcends time and culture in its ability to captivate readers and scholars alike.

It was in Italy, during a mandatory tour of Europe to qualify as a professor of modern languages, that Henry Wadsworth Longfellow (1807–1882) first encountered Dante’s writings. Spending his evenings poring over the gloomy pages, Longfellow later converted his many notes into lectures on Dante at Bowdoin College and Harvard University. Thus began Longfellow’s lifelong interest in the poet, and, in 1843, he committed himself to the translation of The Divine Comedy—an endeavor that would span several decades, due to long respites from the project. Of the three canticles, he completed The Inferno last, marking the occasion in a diary entry on April 16, 1863. After several more years spent revising and annotating the translation, Longfellow finally published his work in 1867. His subsequent changes are reflected in the text of this edition, first printed in a limited run in 1870. The footnotes in this edition provide lines from the 1867 translation.

Oft have I seen at some cathedral door

A laborer, pausing in the dust and heat,

Lay down his burden, and with reverent feet

Enter, and cross himself, and on the floor

Kneel to repeat his paternoster o’er;

Far off the noises of the world retreat;

The loud vociferations of the street

Become an undistinguishable roar.

So, as I enter here from day to day,

And leave my burden at this minster gate,

Kneeling in prayer, and not ashamed to pray,

The tumult of the time disconsolate

To inarticulate murmurs dies away,

While the eternal ages watch and wait.

How strange the sculptures that adorn these towers!

This crowd of statues, in whose folded sleeves

Birds build their nests; while canopied with leaves

Parvis and portal bloom like trellised bowers,

And the vast minster seems a cross of flowers!

But fiends and dragons on the gargoyled eaves

Watch the dead Christ between the living thieves,

And, underneath, the traitor Judas lowers!

Ah! from what agonies of heart and brain,

What exultations trampling on despair,

What tenderness, what tears, what hate of wrong,

What passionate outcry of a soul in pain,

Uprose this poem of the earth and air,

This mediœval miracle of song!

THE INFERNO

Canto I

Midway upon the journey of our life

I found myself within a forest dark,

For the straightforward pathway had been lost.

Ah me! how hard a thing it is to say

What was this forest savage, rough, and stern,

Which in the very thought renews the fear.

So bitter is it, death is little more;

But of the good to treat, which there I found,

Speak will I of the other things I saw there.

I cannot well repeat how there I entered,

So full was I of slumber at the moment

In which I had abandoned the true way.

But after I had reached a mountain’s foot,

At that point where the valley terminated,

Which had with consternation pierced my heart,

Upward I looked, and I beheld its shoulders,

Vested already with that planet’s rays

Which leadeth others right by every road.

Then was the fear a little quieted

That in my heart’s lake had endured throughout

The night, which I had passed so piteously.

And even as he, who, with distressful breath,

Forth issued from the sea upon the shore,

Turns to the water perilous and gazes;

So did my soul, that still was fleeing onward,

Turn itself back to re-behold the pass

Which never yet a living person left.

After my weary body I had rested,

The way resumed I on the desert slope,

So that the firm foot ever was the lower.

And lo! almost where the ascent began,

A panther light and swift exceedingly,

Which with a spotted skin was covered o’er!

And never moved she from before my face,

Nay, rather did impede so much my way,

That many times I to return had turned.

The time was the beginning of the morning,

And up the sun was mounting with those stars

That with him were, what time the Love Divine

At first in motion set those beauteous things;

So were to me occasion of good hope,

The variegated skin of that wild beast,

The hour of time, and the delicious season;

But not so much, that did not give me fear

A lion’s aspect which appeared to me.

He seemed as if against me he were coming

With head uplifted, and with ravenous hunger,

So that it seemed the air was afraid of him;

And a she-wolf, that with all hungerings

Seemed to be laden in her meagreness,

And many folk has caused to live forlorn!

She brought upon me so much heaviness,

With the affright that from her aspect came,

That I the hope relinquished of the height.

And as he is who willingly acquires,

And the time comes that causes him to lose,

Who weeps in all his thoughts and is despondent,

E’en such made me that beast withouten peace,

Which, coming on against me by degrees,

Thrust me back thither where the sun is silent.

While I was rushing downward to the lowland,

Before mine eyes did one present himself,

Who seemed from long-continued silence hoarse.

When I beheld him in the desert vast,

Have pity on me, unto him I cried,

Whiche’er thou art, or shade or real man!

He answered me: "Not man; man once I was,

And both my parents were of Lombardy,

And Mantuans by country both of them.

Sub Julio was I born, though it was late,

And lived at Rome under the good Augustus,

During the time of false and lying gods.

A Poet was I, and I sang that just

Son of Anchises, who came forth from Troy,

After that Ilion the superb was burned.

But thou, why goest thou back to such annoyance?

Why climb’st thou not the Mount Delectable,

Which is the source and cause of every joy?"

"Now, art thou that Virgilius and that fountain

Which spreads abroad so wide a river of speech?"

I made response to him with bashful forehead.

"O, of the other poets honor and light,

Avail me the long study and great love

That have impelled me to explore thy volume!

Thou art my master, and my author thou,

Thou art alone the one from whom I took

The beautiful style that hath done honor to me.

Behold the beast, for which I have turned back;

Do thou protect me from her, famous Sage,

For she doth make my veins and pulses tremble."

Thee it behoves to take another road,

Responded he, when he beheld me weeping,

"If from this savage place thou wouldst escape;

Because this beast, at which thou criest out,

Suffers not any one to pass her way,

But so doth harass him, that she destroys him;

And has a nature so malign and ruthless,

That never doth she glut her greedy will,

And after food is hungrier than before.

Many the animals with whom she weds,

And more they shall be still, until the Greyhound

Comes, who shall make her perish in her pain.

He shall not feed on either earth or pelf,

But upon wisdom, and on love and virtue;

’Twixt Feltro and Feltro shall his nation be;

Of that low Italy shall he be the saviour,

On whose account the maid Camilla died,

Euryalus, Turnus, Nisus, of their wounds;

Through every city shall he hunt her down,

Until he shall have driven her back to Hell,

There from whence envy first did let her loose.

Therefore I think and judge it for thy best

Thou follow me, and I will be thy guide,

And lead thee hence through the eternal place,

Where thou shalt hear the desperate lamentations,

Shalt see the ancient spirits disconsolate, Who cry out each one for the second death;

And thou shalt see those who contented are

Within the fire, because they hope to come,

Whene’er it may be, to the blessed people;

To whom, then, if thou wishest to ascend,

A soul shall be for that than I more worthy;

With her at my departure I will leave thee;

Because that Emperor, who reigns above,

In that I was rebellious to his law,

Wills that through me none come into his city.

He governs everywhere, and there he reigns;

There is his city and his lofty throne;

O happy he whom thereto he elects!"

And I to him: "Poet, I thee entreat,

By that same God whom thou didst never know,

So that I may escape this woe and worse,

Thou wouldst conduct me there where thou hast said,

That I may see the portal of Saint Peter,

And those thou makest so disconsolate."

Then he moved on, and I behind him followed.

Canto II

Day was departing, and the embrowned air

Released the animals that are on earth

From their fatigues; and I the only one

Made myself ready to sustain the war,

Both of the way and likewise of the woe,

Which memory shall retrace, that erreth not.

O Muses, O high genius, now assist me!

O memory, that didst write down what I saw,

Here thy nobility shall be manifest!

And I began: "Poet, who guidest me,

Regard my manhood, if it be sufficient,

Ere to the arduous pass thou dost confide me.

Thou sayest, that of Silvius the parent,

While yet corruptible, unto the world

Immortal went, and was there bodily.

But if the adversary of all evil

Was courteous, thinking of the high effect

Line 6. Which memory that errs not shall retrace.

That issue would from him, and who, and what,

To men of intellect unmeet it seems not;

For he was of great Rome, and of her empire

In the empyreal heaven as father chosen;

The which and what, wishing to speak the truth,

Were stablished as the holy place, wherein

Sits the successor of the greatest Peter.

Upon this journey, whence thou givest him vaunt,

Things did he hear, which the occasion were

Both of his victory and the papal mantle.

Thither went afterwards the Chosen Vessel,

To bring back comfort thence unto that Faith,

Which of salvation’s way is the beginning.

But I, why thither come, or who concedes it?

I not Æneas am, I am not Paul,

Nor I, nor others, think me worthy of it.

Therefore, if I resign myself to come,

I fear the coming may be ill-advised;

Thou’rt wise, and knowest better than I speak."

And as he is, who unwills what he willed,

And by new thoughts doth his intention change,

So that from his design he quite withdraws,

Such I became, upon that dark hillside,

Because, in thinking, I consumed the emprise,

Which was so very prompt in the beginning.

If I have well thy language understood,

Replied that shade of the Magnanimous,

"Thy soul attainted is with cowardice,

Which many times a man encumbers so,

It turns him back from honored enterprise,

As false sight doth a beast, when he is shy.

That thou mayst free thee from this apprehension,

I’ll tell thee why I came, and what I heard

At the first moment when I grieved for thee.

Among those was I who are in suspense,

And a fair, saintly Lady called to me

In such wise, I besought her to command me.

Her eyes were shining brighter than the Star;

And she began to say, gentle and low,

With voice angelical, in her own language:

‘O spirit courteous of Mantua,

Of whom the fame still in the world endures,

And shall endure, long-lasting as the world;

A friend of mine, and not the friend of fortune,

Upon the desert slope is so impeded

Upon his way, that he has turned through terror,

And may, I fear, already be so lost,

That I too late have risen to his succor,

From that which I have heard of him in Heaven.

Bestir thee now, and with thy speech ornate,

And with what needful is for his release,

Assist him so, that I may be consoled.

Beatrice am I, who do bid thee go;

I come from there, where I would fain return;

Love moved me, which compelleth me to speak.

When I shall be in presence of my Lord,

Full often will I praise thee unto him.’

Then paused she, and thereafter I began:

‘O Lady of virtue, thou alone through whom

The human race exceedeth all contained

Within the heaven that has the lesser circles,

So grateful unto me is thy commandment,

To obey, if ’t were already done, were late;

No farther need’st thou ope to me thy wish.

But the cause tell me why thou dost not shun

The here descending down into this centre,

From the vast place thou burnest to return to.’

‘Since thou wouldst fain so inwardly discern,

Briefly will I relate,’ she answered me,

‘Why I am not afraid to enter here.

Of those things only should one be afraid

Which have the power of doing others harm;

Of the rest, no; because they are not fearful.

God in his mercy such created me

That misery of yours attains me not,

Nor any flame assails me of this burning.

A gentle Lady is in Heaven, who grieves

At this impediment, to which I send thee,

So that stern judgment there above is broken.

In her entreaty she besought Lucìa,

And said, "Thy faithful one now stands in need

Of thee, and unto thee I recommend him."

Lucìa, foe of all that cruel is, 1

Hastened away, and came unto the place

Where I was sitting with the ancient Rachel.

Beatrice, said she, "the true praise of God,

Why succorest thou not him, who loved thee so,

For thee he issued from the vulgar herd?

Dost thou not hear the pity of his plaint?

Dost thou not see the death that combats him

Beside that flood, where ocean has no vaunt?"

Never were persons in the world so swift

To work their weal and to escape their woe,

As I, after such words as these were uttered,

Came hither downward from my blessed seat,

Confiding in thy dignified discourse,

Which honors thee, and those who’ve listened to it.’

After she thus had spoken unto me,

Weeping, her shining eyes she turned away;

Whereby she made me swifter in my coming;

And unto thee I came, as she desired;

I have delivered thee from that wild beast,

Which barred the beautiful mountain’s short ascent.

What is it, then? Why, why dost thou delay?

Why is such baseness bedded in thy heart?

Daring and hardihood why hast thou not,

Seeing that three such Ladies benedight

Are caring for thee in the court of Heaven,

And so much good my speech doth promise thee?"

Even as the flowerets, by nocturnal chill,

Bowed down and closed, when the sun whitens them,

Uplift themselves all open on their stems;

Such I became with my exhausted strength,

And such good courage to my heart there coursed,

That I began, like an intrepid person:

"O she compassionate, who succored me,

And courteous thou, who hast obeyed so soon

The words of truth which she addressed to thee!

Thou hast my heart so with desire disposed

To the adventure, with these words of thine,

That to my first intent I have returned.

Now go, for one sole will is in us both,

Thou Leader, and thou Lord, and Master thou."

Thus said I to him; and when he had moved,

I entered on the deep and savage way.

Canto III

"Through me the way is to the city dolent;

Through me the way is to eternal dole;

Through me the way among the people lost.

Justice incited my sublime Creator;

Created me divine Omnipotence,

The highest Wisdom and the Primal Love.

Before me there were no created things,

Only eterne, and I eternal last.

All hope abandon, ye who enter in!"

These words in sombre color I beheld

Written upon the summit of a gate;

Whence I: Their sense is, Master, hard to me!

And he to me, as one experienced:

"Here all suspicion needs must be abandoned,

All cowardice must needs be here extinct.

We to the place have come, where I have told thee

Thou shalt behold the people dolorous

Who have foregone the good of intellect."

And after he had laid his hand on mine

With joyful mien, whence I was comforted,

He led me in among the secret things.

There sighs, complaints, and ululations loud

Resounded through the air without a star,

Whence I, at the beginning, wept thereat.

Languages diverse, horrible dialects,

Accents of anger, words of agony,

And voices high and hoarse, with sound of hands,

Made up a tumult that goes whirling on

Forever in that air forever black,

Even as the sand doth, when the whirlwind breathes.

And I, who had my head with horror bound,

Said: "Master, what is this which now I hear?

What folk is this, which seems by pain so vanquished?"

And he to me: "This miserable mode

Maintain the melancholy souls of those

Who lived withouten infamy or praise.

Commingled are they with that caitiff choir

Of Angels, who have not rebellious been,

Nor faithful were to God, but were for self.

The heavens expelled them, not to be less fair;

Nor them the nethermore abyss receives,

For glory none the damned would have from them."

And I: "O Master, what so grievous is

To these, that maketh them lament so sore?"

He answered: "I will tell thee very briefly.

These people have not any hope of death;

And this blind life of theirs is so debased,

They envious are of every other fate.

No fame of them the world permits to be;

Misericord and Justice both disdain them.

Let us not speak of them, but look, and pass."

And I, who looked again, beheld a banner,

Which, whirling round, ran on so rapidly,

That of all pause it seemed to me indignant;

And after it there came so long a train

Of people, that I ne’er would have believed

That ever Death so many had undone.

When some among them I had recognized,

I looked, and I beheld the shade of him

Who made through cowardice the great refusal.

Forthwith I comprehended, and was certain,

That this the sect was of the caitiff wretches

Hateful to God and to his enemies.

These miscreants, who never were alive,

Were naked, and were stung exceedingly

By gadflies and by hornets that were there.

These did their faces irrigate with blood,

Which, with their tears commingled, at their feet

By the disgusting worms was gathered up.

And when to gazing farther I betook me,

People I saw on a great river’s bank;

Whence said I: "Master, now vouchsafe to me,

That I may know who these are, and what law

Makes them appear so ready to pass over,

As I discern athwart the feeble light."

And he to me: "These things shall all be known

To thee, as soon as we our footsteps stay

Upon the dismal shore of Acheron."

Then with mine eyes ashamed and downward cast,

Fearing my words might irksome be to him,

From speech refrained I till we reached the river.

Line 46. These have no longer any hope of death;

Line 75. As I discern athwart the dusky light."

And lo! towards us coming in a boat

An old man, hoary with the hair of eld,

Crying: "Woe unto you, ye souls depraved!

Hope nevermore to look upon the heavens;

I come to lead you to the other shore,

To the eternal shades in heat and frost.

And thou, that yonder standest, living soul,

Withdraw thee from these people, who are dead!"

But when he saw that I did not withdraw,

He said: "By other ways, by other ports

Thou to the shore shalt come, not here, for passage;

A lighter vessel needs must carry thee."

And unto him the Guide: "Vex thee not, Charon;

It is so willed there where is power to do

That which is willed; and ask no further question."

Thereat were quieted the fleecy cheeks

Of him the ferryman of the livid fen,

Who round about his eyes had wheels of flame.

But all those souls who weary were and naked

Their color changed and gnashed their teeth together,

As soon as they had heard those cruel words.

God they blasphemed and their progenitors,

The human race, the place, the time, the seed

Of their engendering and of their birth!

Thereafter all together they withdrew,

Bitterly weeping, to the accursed shore,

Which waiteth every man who fears not God.

Charon the demon, with the eyes of glede,

Beckoning to them, collects them all together,

Beats with his oar whoever lags behind.

As in the autumn-time the leaves fall off,

First one and then another, till the branch

Unto the earth surrenders all its spoils;

In similar wise the evil seed of Adam

Throw themselves from that margin one by one,

At signals, as a bird unto its lure.

So they depart across the dusky wave,

And ere upon the other side they land,

Again on this side a new troop assembles.

My son, the courteous Master said to me,

Line 96. That which is willed; and farther question not."

Line 106. Thereafter all together they drew back,

"All those who perish in the wrath of God

Here meet together out of every land;

And ready are they to pass o’er the river,

Because celestial Justice spurs them on,

So that their fear is turned into desire.

This way there never passeth a good soul;

And hence if Charon doth complain of thee,

Well mayst thou know now what his speech imports."

This being finished, all the dusk champaign

Trembled so violently, that of that terror

The recollection bathes me still with sweat.

The land of tears gave forth a blast of wind,

And fulminated a vermilion light,

Which overmastered in me every sense,

And as a man whom sleep doth seize I fell.

Canto IV

Broke the deep lethargy within my head

A heavy thunder, so that I upstarted,

Like to a person who by force is wakened;

And round about I moved my rested eyes,

Uprisen erect, and steadfastly I gazed,

To recognise the place wherein I was.

True is it, that upon the verge I found me

Of the abysmal valley dolorous,

That gathers thunder of infinite ululations.

Obscure, profound it was, and nebulous,

So that by fixing on its depths my sight

Nothing whatever I discerned therein.

Let us descend now into the blind world,

Began the Poet, pallid utterly;

I will be first, and thou shalt second be.

And I, who of his color was aware,

Said: "How shall I come, if thou art afraid,

Who’rt wont to be a comfort to my fears?"

And he to me: "The anguish of the people

Who are below here in my face depicts

That pity which for terror thou hast taken.

Line 127. This way there never passes a good soul;

Line 136. And as a man whom sleep hath seized I fell.

Let us go on, for the long way impels us."

Thus he went in, and thus he made me enter

The foremost circle that surrounds the abyss.

There, in so far as I had power to hear,

Were lamentations none, but only sighs,

That tremulous made the everlasting air.

And this arose from sorrow without torment,

Which the crowds had, that many were and great,

Of infants and of women and of men.

To me the Master good: "Thou dost not ask

What spirits these may be, which thou beholdest?

Now will I have thee know, ere thou go farther,

That they sinned not; and if they merit had,

’Tis not enough, because they had not baptism

Which is the portal of the Faith thou holdest;

And if they were before Christianity,

In the right manner they adored not God;

And among such as these am I myself.

For such defects, and not for other guilt,

Lost are we, and are only so far punished,

That without hope we live on in desire."

Great grief seized on my heart when this I heard,

Because some people of much worthiness

I knew, who in that Limbo were suspended.

Tell me, my Master, tell me, thou my Lord,

Began I, with desire of being certain

Of that Faith which o’ercometh every error,

"Came any one by his own merit hence,

Or by another’s, who was blessed thereafter?"

And he, who understood my covert speech,

Replied: "I was a novice in this state,

When I saw hither come a Mighty One,

With sign of victory incoronate.

Hence he drew forth the shade of the First Parent,

And that of his son Abel, and of Noah,

Of Moses the lawgiver, and the obedient

Abraham, patriarch, and David, king,

Israel with his father and his children,

And Rachel, for whose sake he did so much,

And others many, and he made them blessed;

And thou must know, that earlier than these

Line 32. What spirits these, which thou beholdest, are?

Never were any human spirits saved."

We ceased not to advance because he spake,

But still were passing onward through the forest,

The forest, say I, of thick-crowded ghosts.

Not very far as yet our way had gone

This side the summit, when I saw a fire

That overcame a hemisphere of darkness.

We were a little distant from it still,

But not so far

Enjoying the preview?
Page 1 of 1