Dante's Inferno: The Vision of Hell from The Divine Comedy

By Dante Alighieri and Gustave Doré

Inferno is the first part of Italian poet Dante Alighieri's epic poem Divine Comedy. The allegory describes Dante's journey through the depths of Hell. He is led by the Roman poet Virgil down into the nine circles of Hell, each of which holds and punishes progressively worse sinners. From the First Circle, where unbaptized souls live in peaceful limbo, down to the Ninth Circle, where Satan is trapped in ice, Dante sees firsthand the consequence of unrepentantly sinning against God. Dante published his narrative poem between 1308 and 1321. This version is taken from an 1892 English edition, featuring British author Rev. H. F. Cary's blank verse translation and woodcut illustrations by French artist Gustave Doré.

• Language: English
• Publisher: Lerner Publishing
• Release date: Jan 1, 2015
• ISBN: 9781467787734

Dante Alighieri

Dante was a major Italian poet of the Middle Ages. His Divine Comedy is widely considered the greatest work of Italian literature.

Book preview

XXXIV

CANTO I

In the midway of this our mortal life,

I found me in a gloomy wood, astray.

Canto I., Lines 1, 2

IN the midway of this our mortal life, 1

I found me in a gloomy wood, astray

Gone from the path direct: and e’en to tell

It were no easy task, how savage wild

That forest, how robust and rough its growth,

Which to remember only, my dismay

Renews, in bitterness not far from death.

Yet to discourse of what there good befell,

All else will I relate discover’d there.

How first I enter’d it I scarce can say,

Such sleepy dullness in that instant weigh’d

My senses down, when the true path I left,

But when a mountain’s foot I reach’d, where clos’d

The valley, that had pierc’d my heart with dread,

I look’d aloft, and saw his shoulders broad

Already vested with that planet’s beam,

Who leads all wanderers safe through every way.

Then was a little respite to the fear,

That in my heart’s recesses deep had lain,

All of that night, so pitifully pass’d:

And as a man, with difficult short breath,

Forespent with toiling, ’scap’d from sea to shore,

Turns to the perilous wide waste, and stands

At gaze; e’en so my spirit, that yet fail’d

Struggling with terror, turn’d to view the straits,

That none hath pass’d and liv’d. My weary frame

After short pause recomforted, again

I journey’d on over that lonely steep,

Scare the ascent

Began, when, lo! a panther, nimble, light,

And cover’d with a speckled skin, appear’d;

Nor, when it saw me, vanish’d.

Canto I., lines 29–32

The hinder foot still firmer. Scarce the ascent 29

Began, when, lo! a panther, nimble, light,

And cover’d with a speckled skin, appear’d,

Nor, when it saw me, vanish’d, rather strove

To check my onward going; that ofttimes

With purpose to retrace my steps I turn’d.

The hour was morning’s prime, and on his way

Aloft the sun ascended with those stars,

That with him rose, when Love divine first mov’d

Those its fair works: so that with joyous hope

All things conspir’d to fill me, the gay skin

Of that swift animal, the matin dawn

And the sweet season. Soon that joy was chas’d,

And by new dread succeeded, when in view

A lion came, ’gainst me, as it appear’d, 43

A lion came, ’gainst me, as it appear’d,

With his head held aloft and hunger-mad.

Canto I., lines 43, 44

With his head held aloft and hunger-mad, 44

That e’en the air was fear-struck. A she-wolf

Was at his heels, who in her leanness seem’d

Full of all wants, and many a land hath made

Disconsolate ere now. She with such fear

O’erwhelmed me, at the sight of her appall’d,

That of the height all hope I lost. As one,

Who with his gain elated, sees the time

When all unwares is gone, he inwardly

Mourns with heart-griping anguish; such was I,

Haunted by that fell beast, never at peace,

Who coming o’er against me, by degrees

Impell’d me where the sun in silence rests.

While to the lower space with backward step

I fell, my ken discern’d the form one of one,

Whose voice seem’d faint through long disuse of speech.

When him in that great desert I espied,

Have mercy on me! cried I out aloud,

Spirit! or living man! what e’er thou be!

He answer’d: "Now not man, man once I was,

And born of Lombard parents, Mantuana both

By country, when the power of Julius yet

Was scarcely firm. At Rome my life was past

Beneath the mild Augustus, in the time

Of fabled deities and false. A bard

Was I, and made Anchises’ upright son

The subject of my song, who came from Troy,

When the flames prey’d on Ilium’s haughty towers.

But thou, say wherefore to such perils past

Return’st thou? wherefore not this pleasant mount

Ascendest, cause and source of all delight?"

"And art thou then that Virgil, that well-spring,

From which such copious floods of eloquence

Have issued?" I with front abash’d replied.

"Glory and light of all the tuneful train!

May it avail me that I long with zeal

Have sought thy volume, and with love immense

Have conn’d it o’er. My master thou and guide!

Thou he from whom alone I have deriv’d

That style, which for its beauty into fame

Exalts me. See the beast, from whom I fled.

O save me from her, thou illustrious sage!

He, soon as he saw

That I was weeping, answer’d.

Canto I., lines 87, 88

"For every vein and pulse throughout my frame

She hath made tremble." He, soon as he saw 87

That I was weeping, answer’d, "Thou must needs

Another way pursue, if thou wouldst ’scape

From out that savage wilderness. This beast,

At whom thou criest, her way will suffer none

To pass, and no less hindrance makes than death:

So bad and so accursed in her kind,

That never sated is her ravenous will,

Still after food more craving than before.

To many an animal in wedlock vile

She fastens, and shall yet to many more,

Until that greyhound come, who shall destroy

Her with sharp pain. He will not life support

By earth nor its base metals, but by love,

Wisdom, and virtue, and his land shall be

The land ’twixt either Feltro. In his might

Shall safety to Italia’s plains arise,

For whose fair realm, Camilla, virgin pure,

Nisus, Euryalus, and Turnus fell.

He with incessant chase through every town

Shall worry, until he to hell at length

Restore her, thence by envy first let loose.

I for thy profit pond’ring now devise,

That thou mayst follow me, and I thy guide

Will lead thee hence through an eternal space,

Where thou shalt hear despairing shrieks, and see

Spirits of old tormented, who invoke

A second death; and those next view, who dwell

Content in fire, for that they hope to come,

Whene’er the time may be, among the blest,

Into whose regions if thou then desire

T’ ascend, a spirit worthier then I

Must lead thee, in whose charge, when I depart,

Thou shalt be left: for that Almighty King,

Who reigns above, a rebel to his law,

Adjudges me, and therefore hath decreed,

That to his city none through me should come.

He in all parts hath sway; there rules, there holds

His citadel and throne. O happy those,

Whom there he chooses!" I to him in few:

"Bard! by that God, whom thou didst not adore,

I do beseech thee (that this ill and worse

I may escape) to lead me, where thou saidst,

That I Saint Peter’s gate may view, and those

Who as thou tell’st, are in such dismal plight."

Onward he mov’d, I close his steps pursu’d. 132

Onward he mov’d, I close his steps pursu’d.

Canto I., line 132

CANTO II

Now was the day departing.

Canto II., line 1

NOW was the day departing, and the air, 1

Imbrown’d with shadows, from their toils releas’d

All animals on earth; and I alone

Prepar’d myself the conflict to sustain,

Both of sad pity, and that perilous road,

Which my unerring memory shall retrace.

O Muses! O high genius! now vouchsafe

Your aid! O mind! that all I saw hast kept

Safe in a written record, here thy worth

And eminent endowments come to proof.

I thus began: "Bard! thou who art my guide,

Consider well, if virtue be in me

Sufficient, ere to this high enterprise

Thou trust me. Thou hast told that Silvius’ sire,

Yet cloth’d in corruptible flesh, among

Th’ immortal tribes had entrance, and was there

Sensible present. Yet if heaven’s great Lord,

Almighty foe to ill, such favour shew’d,

In contemplation of the high effect,

Both what and who from him should issue forth,

It seems in reason’s judgment well deserv’d:

Sith he of Rome, and of Rome’s empire wide,

In heaven’s empyreal height was chosen sire:

Both which, if truth be spoken, were ordain’d

And ’stablish’d for the holy place, where sits

Who to great Peter’s sacred chair succeeds.

He from this journey, in thy song renown’d,

Learn’d things, that to his victory gave rise

And to the papal robe. In after-times

The chosen vessel also travel’d there,

To bring us back assurance in that faith,

Which is the entrance to salvation’s way.

But I, why should I there presume? or who

Permits it? not, Aeneas I nor Paul.

Myself I deem not worthy, and none else

Will deem me. I, if on this voyage then

I venture, fear it will in folly end.

Thou, who art wise, better my meaning know’st,

Than I can speak." As one, who unresolves

What he hath late resolv’d, and with new thoughts

Changes his purpose, from his first intent

Remov’d; e’en such was I on that dun coast,

Wasting in thought my enterprise, at first

So eagerly embrac’d. "If right thy words

I scan," replied that shade magnanimous,

"Thy soul is by vile fear assail’d, which oft

So overcasts a man, that he recoils

From noblest resolution, like a beast

At some false semblance in the twilight gloom.

That from this terror thou mayst free thyself,

I will instruct thee why I came, and what

I heard in that same instant, when for thee

Grief touch’d me first. I was among the tribe,

Who rest suspended, when a dame, so blest

And lovely, I besought her to command,

Call’d me; her eyes were brighter than the star

Of day; and she with gentle voice and soft

Angelically tun’d her speech address’d:

"O courteous shade of Mantua! thou whose fame

Yet lives, and shall live long as nature lasts!

A friend, not of my fortune but myself,

On the wide desert in his road has met

Hindrance so great, that he through fear has turn’d.

Now much I dread lest he past help have stray’d,

And I be ris’n too late for his relief,

From what in heaven of him I heard. Speed now,

And by thy eloquent persuasive tongue,

And by all means for his deliverance meet,

Assist him. So to me will comfort spring.

I who now bid thee on this errand forth 70

Am Beatrice¹; from a place I come.

I, who now bid thee on this errand forth,

Am Beatrice.

Canto II., lines 70, 71

Revisited with joy. Love brought me thence,

Who prompts my speech. When in my Master’s sight

I stand, thy praise to him I oft will tell."

She then was silent, and I thus began:

"O Lady! by whose influence alone,

Mankind excels whatever is contain’d

Within that heaven which hath the smallest orb,

So thy command delights me, that to obey,

If it were done already, would seem late.

No need hast thou farther to speak thy will;

Yet tell the reason, why thou art not loth

To leave that ample space, where to return

Thou burnest, for this centre here beneath."

She then: "Since thou so deeply wouldst inquire,

I will instruct thee briefly, why no dread

Hinders my entrance here. Those things alone

Are to be fear’d, whence evil may proceed,

None else, for none are terrible

Reviews for Dante's Inferno

[hillaryrose7 · Rating: 4 out of 5 stars]

A handsome book, but a clunky and awkward translation.

[angelab86 · Rating: 5 out of 5 stars]

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.

[therebelprince · Rating: 4 out of 5 stars]

I'm not a religious man in the least, but - like the great works of Classical composers, or the Sistine Chapel - that's hardly a consideration when reading a soaring work of near-ancient literature. Esolen's translation is marvellous, attempting to keep rhyme, meter and meaning in check, without ever sacrificing beauty. What results is a work of epic poetry which, while adhering to rules, is more than happy to flaunt them when necessary. Dante's vision is quite clever, and - although you will need copious notes at times to understand the medieval Italian history references - a sublimely beautiful piece.

[angelag86 · Rating: 5 out of 5 stars]

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.

[akikorye · Rating: 2 out of 5 stars]

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.

[legalmove · Rating: 4 out of 5 stars]

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.

[pcharmed86 · Rating: 5 out of 5 stars]

One needs to read this just so that can fully realize the abundance of references there are to this book in modern media - really, it's ridiculous how many nods Dante gets but it is understandable. I refer to frequently, usually in the form of "you're going to the sixth circle of Hell for that!" Great way of feeling smart. Oh, and it's a good read too.

[lisamaria_c · Rating: 5 out of 5 stars]

I find The Divine Comedy among the most amazing works I've ever read--despite that the work is essentially Christian Allegory and I'm an atheist. First and foremost for its structure. Recently I read Moby Dick and though it had powerful passages I found it self-indulgent and bloated and devoutly wished an editor had taken a hatchet to the numerous digressions. There is no such thing as digressions in Dante. I don't think I've ever read a more carefully crafted work. We visit three realms in three Canticas (Hell, Purgatory and Heaven) each of 33 cantos and in a terza rima verse in a triple rhyme scheme. Nothing is incidental or left to chance . That's not where the structure ends either. Hell has nine levels, it is an imaginary landscape worthy of Tolkien or Pratchett, both in large ways and small details. I found it fitting how Dante tied both sins and virtues to love--a sin was love misdirected or applied, and the lower you go in hell, the less love there is involved, until at the lowest reaches you find Satan and traitors encased in a lake of ice. Then there are all the striking phrases, plays of ideas and gorgeous imagery that comes through despite translations. This might be Christian Allegory, but unlike say John Bunyan's Pilgrim's Progress it's far from dry or tedious and is full of real life contemporaries of Dante and historical figures. There are also Dante's guides here. His Virgil is wonderful--and the perfect choice. The great Latin poet of the Aeneid leading the great Italian poet who made his Tuscan dialect the standard with his poetry. I've read the entire Divine Comedy but certainly Hell is what stays most vividly in my mind. I remember the people of Hell best. There's Virgil of course, who must remain in limbo for eternity because he wasn't a Christian. There's Francesca di Rimini and her lover, for their adultery forever condemned to be flung about in an eternal wind so that even Dante pities them. And that, of course, is the flip side of this. Dante's poem embodies the orthodox Roman Catholic Christianity of the 1300s and might give even Christians today pause. Even though I don't count myself a Christian, I get the appeal of hell. In fact, I can remember exactly when I understood it. When once upon a time I felt betrayed, and knew there was no recourse. The person involved would never get their comeuppance upon this Earth. How nice I thought, if there really was a God and a Hell to redress the balance. The virtue of any Hell therefore is justice. These are the words Dante tells us are at hell's entrance.THROUGH ME THE WAY INTO THE SUFFERING CITY,THROUGH ME THE WAY TO THE ETERNAL PAIN,THROUGH ME THE WAY THAT RUNS AMONG THE LOST. JUSTICE URGED ON MY HIGH ARTIFICER;MY MAKER WAS DIVINE AUTHORITY,THE HIGHEST WISDOM, AND THE PRIMAL LOVE. BEFORE ME NOTHING BUT ETERNAL THINGSWERE MADE, AND I ENDURE ETERNALLY.ABANDON EVERY HOPE, WHO ENTER HERE.It's hard to see Dante's vision matching the orthodox doctrine as just however, even when I might agree a particular transgression deserves punishment. Never mind the virtuous and good in limbo because they weren't Christians or unbaptized or in hell because they committed suicide or were homosexual. And poor Cassio and Brutus, condemned to the lowest circle because they conspired to kill a tyrant who was destroying their republic. My biggest problem with hell is that it is eternal. Take all the worst tyrants who murdered millions, make them suffer not only the length of the lifetimes of their victims but all the years they might have had, I doubt if you add it up it comes to the age of the Earth--never mind eternity. Justice taken to extremes is not justice--it's vindictiveness and sadism. Something impossible for me to equate with "the primal love." Yet I loved this work so much upon my first read (I read the Dorothy Sayers translation) I went out and bought two other versions. One by Allen Mandelbaum (primarily because it was a dual language book with the Italian on one page facing the English translation) and a hardcover version translated by Charles Eliot Norton. Finally, before writing up my review and inspired by Matthew Pearl's The Dante Club, I got reacquainted by finding Longfellow's translation online. Of all of them, I greatly prefer Mandelbaum's translation. The others try to keep the rhyming and rhythm of the original and this means a sometimes tortured syntax and use of archaic words and the result is forced and often obscure, making the work much harder to read than it should be.

[karlstar_1 · Rating: 4 out of 5 stars]

Despite its deserved reputation as being a bit hard to follow, if you stick with it, this is really worth reading.

[tadad_1 · Rating: 4 out of 5 stars]

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.

[auroraw_6 · Rating: 5 out of 5 stars]

Poetry like this touches your soul Dante was a lot like Mozart a daring rebel and a genius

[hopeevey · Rating: 4 out of 5 stars]

This is my first exposure to Dante's writing. I was looking for poetry by a different author when I came across this translation. When I saw the narrator, I decided it was time to read/hear some Dante :)

Dante sure thought a lot of himself! Good grief, even when he's singing the praises of some denizen of limbo, he's doing so in the context of being the vehicle of their remembrance among the living. You've probably heard the idiom, "damning with faint praise." Over and over, Dante praises himself with faint condemnation. No, Dante, it's not actually all that terrible that you trembled with fear while faced with the horrors of the pit.

I want to read an annotated translation of The Inferno. I could be wrong, but I'm pretty sure he was mocking and calling out some of his contemporaries, as well as commenting on figures from the past.

Most of the work came from describing and talking to the denizens of the various neighborhood of perdition, but he didn't stint on describing the environs. He readily sketched the horrific backdrops to his interactions, giving just enough detail to be clear, but leaving space for the imagination to fill in the unmentioned horrors. This is not at all bedtime listening.

I seemed to sense some negative commentary on Church doctrine, but I'm not sure if that was in the text, or if that came from my 20th/21st century perspective. For instance, he lamented the number of people, even great and good people, condemned to Limbo simply because they lived before the establishment of Christianity. To my ear, that's a reason to question the church - but to Dante it may have been just another thing that was and didn't need to be questioned.

[marcush_42 · Rating: 4 out of 5 stars]

Dante's Inferno is the first part of an epic poem that rivals other greats like Ovid's Metamorphosis and Homer's Illiad and Odyssey. As one reads Dante, they must keep in mind that he was stifled politically. It has been said that without a proper avenue to voice his political distaste, Dante constructed his seven levels of Hell. Each level represents an action and it's subsequent punishment. At times the poem can become tedious and hard to follow, but there's a large amount of very memorable sequences that make this one of the greatest pieces of writing constructed.

[emurray35 · Rating: 5 out of 5 stars]

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.

[benjaminhahn · Rating: 5 out of 5 stars]

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.

[northlaw · Rating: 2 out of 5 stars]

I have finally read the Inferno and if I am going to be honest, I'm not sure what all the fuss is about. Not being a student of Italian literature and having read Clive James' English translation there was probably a lot I was missing, in the original, but I found that it was really just a horror story with the added s pice of the author being able to denigrate persons he didn't like. All this would have been extremely entertaining at the time when the names were topical, but I do not understand why it is considered such a classic. It was just a litany of various types of physical torture with no overarching point that I could see, except to list all that horror.

[jhudsui_1 · Rating: 2 out of 5 stars]

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.

[theidlewoman · Rating: 4 out of 5 stars]

The primary virtue of the Oxford / Sinclair edition is the parallel text, which means that you can both appreciate the beauty of Dante's original, and make sure that you miss none of the finer points by following the English translation. Each canto has its own introduction and endnotes, which means that important contextual information is always at hand. Inferno is for me by far the most engaging cantica, as Dante creates ever more imaginative tortures for the souls condemned to each circle of Hell. An absolute classic.

[audacity88_1 · Rating: 3 out of 5 stars]

Mildly amusing, though this ostensibly pure Christian author clearly has a perverse streak running through him. (As does the Christian God, so not surprising.)

[wethewatched · Rating: 3 out of 5 stars]

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.

[meredithyvonne · Rating: 4 out of 5 stars]

This particular version of the Inferno is a particularly great read. The Italian is translated on the opposing page and at the end of each section there's a explanation of what you've just read. I didn't use the notes to explain anything, but rather they referred me to ideas that I missed on the first read through. I've read this book 3 times and each time I find something new.

[word2world · Rating: 5 out of 5 stars]

It should not be surprising to hear me refer to Dante's Commedia as the greatest piece of literature ever written. This is a work that can never be read too many times and should never be read only once. Inferno is the first and most iconic piece of Dante's trilogy since it is set in Hell (which is surprisingly appealing to many people...). However, its depth far succeeds Hell's reaches and calls for a very conscientious approach to be grasped in any significant way. The Hollanders' translation I highly recommend when reading the book for a second or third time, otherwise one might easily become lost in Robert Hollander's lengthy (but interesting!) commentary.

[cyderry · Rating: 4 out of 5 stars]

I read this book/Poem because I had always heard about it but had never read it. So I challenged myself to read this book. I chose the Pinsky translation for my read. The story was very thought provoking, and disturbing as to whether any of it could true. As a born and raised Catholic, I chose the time of the read for the Lenten season since this is not the type of literature that I normally appreciate and I'm not sure that I do appreciate it. I do, however, acknowledge the talent of the writer and his imagination but I was disappointed by the amount of politics involved in the story.

[mattresslessness · Rating: 5 out of 5 stars]

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.

[dgrayson_16 · Rating: 5 out of 5 stars]

It took me forever to get through this book. However it contains great imagery, and the notes were indispensable.

[ludiegrace · Rating: 4 out of 5 stars]

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.

[lpg3d · Rating: 2 out of 5 stars]

Without understanding who all these people are and why Dante wanted to see them suffer, this books is a very painful, difficult read. It really requires a companion book to make sense of the scenes.

[alcracka · Rating: 3 out of 5 stars]

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.

[octchild · Rating: 5 out of 5 stars]

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.

[tzyuhas · Rating: 5 out of 5 stars]

More a commentary on 14th century Italy than anything else, "The Divine Comedy" details three spheres of the afterlife, and the first volume of Dante's "Divine Comedy" is the decent into the Inferno. In understanding the works of Dante one must understand the man himself. A devout Catholic, he wrote the work as a commentary on the political, economic and social happenings of his city. He strongly believed that his own city was on its own decent into darkness. The Inferno gave Dante a chance to punish his enemies, etc, for eternity in one of the most graphic depictions of Hell. Composed of 34 Cantos, the Inferno takes us through the nine rings of Hell. Dante, along with his idol and guide Virgil, make the decent into Hell ring by ring. From the lustful, the wrathful, the violent, to the betrayers, the reader is given a detailed look at the idea of "punishment fitting the crime". Indeed the genius of Dante is not just in the poetry or the detail in the description, but his construction of the entire idea itself; his anti-trinity found in the devil and among others the parabola nature of his travel through hell. It is an important work in understanding the history of Hell's development, but to learn about Dante's world, his views, and his biases. This particular edition allows the reader to view not only the English translation but the original Italian. Robert Durling also provides extensive notes on each Canto which can illuminate the reader on the deeper meaning and hidden contexts in the work. All in all it is one of the classics of literature and will continue to be a captivating work about man's greatest question. What happens to us when we die?