Begun about 1307 and completed in 1321, Dante's sublime poetic masterpiece, The Divine Comedy, is one of the world's great works of literature. It comprises an extraordinarily vivid and imaginative account of the poet's allegorical journey through the afterlife. Complementing its depiction of the world beyond, the poem's abundant allusions to earthly history and politics, vivid portrayals of Dante's friends and enemies, and many references to contemporary Italian affairs make it an intensely human, realistic portrait of life on earth. Led in his travels by the classical poet Virgil, Dante descends through the nine circles of Hell, where punishment is determined by the gravity of the sinner's transgressions. He then ascends the mountain of Purgatory, encountering souls atoning for their misdeeds, and, at the summit, is met at the entrance to Paradise by Beatrice, his beloved. Throughout his pilgrimage, he meets characters drawn from ancient Roman and medieval times (philosophers, heroes, emperors, popes, and politicians, among others) as well as numerous personalities from the Italy of his day. This dual-language edition includes the complete texts of 33 of the original 100 cantos or "songs"; each omitted canto is summarized in its proper place to provide continuity. The selection of cantos and the excellent line-for-line translations from Italian into English are by Stanley Appelbaum, who also has provided an informative Introduction and useful notes.

In the Divine Comedy Dante Alighieri takes up the theme of the journey which had been present in literature since remote times. But he does not tell of the epic deeds of legendary heroes: it is he himself, the protagonist of this great adventure; a person in flesh and blood, who takes his experience of the world and its history to the world of the dead. The poet’s message of hope is addressed to men of all times, since he with his intelligence and faith had been able to get an insight into the mysteries of the universe and contemplate God’s presence.

Martinez and Durling's introduction and notes are designed with the first-time reader of the poem in mind but will be useful to others as well. The concise introduction presents essential biographical and historical background and a discussion of the form of the poem. The notes are more extensive than those in most translations currently available, and they contain much new material. In addition, sixteen short essays explore the autobiographical dimension of the poem, the problematic body analogy, the question of Christ's presence in Hell, and individual cantos that have been the subject of controversy, including those on homosexuality. There is an extensive bibliography, and the four indexes (to foreign words, passages cited, proper names in the notes, and to proper names in the text and translation) will make the volume particularly useful.

This fascinating collection explores America's appropriations and fabrications of the Middle Ages, revealing the nation's complicated love affair with a past it never had, but has created from history and imagination.

This first volume of Robert Durling's new translation of The Divine Comedy brings a new power and accuracy to the rendering of Dante's extraordinary vision of Hell, with all its terror, pathos, and humor. Remarkably true to both the letter and spirit of this central work of Western literature, Durling's is a prose translation (the first to appear in twenty-five years), and is thus free of the exigencies of meter and rhyme that hamper recent verse translations. As Durling notes, "the closely literal style is a conscious effort to convey in part the nature of Dante's Italian, notoriously craggy and difficult even for Italians." Rigorously accurate as to meaning, it is both clear and supple, while preserving to an unparalleled degree the order and emphases of Dante's complex syntax. The Durling-Martinez Inferno is also user-friendly. The Italian text, newly edited, is printed on each verso page; the English mirrors it in such a way that readers can easily find themselves in relation to the original terza rima. Designed with the first-time reader of Dante in mind, the volume includes comprehensive notes and textual commentary by Martinez and Durling: both are life-long students of Dante and other medieval writers (their Purgatorio and Paradiso will appear next year). Their introduction is a small masterpiece of its kind in presenting lucidly and concisely the historical and conceptual background of the poem. Sixteen short essays are provided that offer new inquiry into such topics as the autobiographical nature of the poem, Dante's views on homosexuality, and the recurrent, problematic body analogy (Hell has a structure parallel to that of the human body). The extensive notes, containing much new material, explain the historical, literary, and doctrinal references, present what is known about the damned souls Dante meets --from the lovers who spend eternity in the whirlwind of their passion, to Count Ugolino, who perpetually gnaws at his enemy's skull--disentangle the vexed party politics of Guelfs and Ghibellines, illuminate difficult and disputed passages, and shed light on some of Dante's unresolved conflicts. Robert Turner's illustrations include detailed maps of Italy and several of its regions, clearly labeled diagrams of the cosmos and the structure of Hell, and eight line drawings illustrating objects and places mentioned in the poem. With its exceptionally high standard of typography and design, the Durling-Martinez Inferno offers readers a solid cornerstone for any home library. It will set the standard for years to come.

Holding divine intervention responsible for political and military success and failure has a long history in western thought. This book explores the idea of providential history as an organizing principle for understanding the divine purpose for humans in texts that may be literary, historical, philosophical, and theological. Providential History shows that, with Virgil and the Bible as authoritative precursors to late antique views on history, the two most important political thinkers of the late antique Christian world, Orosius and Augustine, produced the theories of Christian politics and history that were carried over into the first and second millennium of Christianity. Likewise, their understanding of how the history of the late Roman Empire connects to God's plan for humankind became the background for understanding Dante's own positions in the Monarchia and the Commedia. Brenda Deen Schildgen examines Dante's engagement with these authoritative sources, whether in biblical, ancient Roman writers, or the specific legacy of Orosius and Augustine.

In the 20th century theorists of mind were almost exclusively concerned with various versions of the materialist thesis, but prior to current debates accounts of soul and mind reveal an extraordinary richness and complexity ?which bear careful and impartial investigation. This book is the first single-authored, comprehensive work to examine the historical, linguistic and conceptual issues involved in exploring the basic features of the human mind - from its most remote origins to the beginning of the modern period. MacDonald traces the development of an armature of psychical concepts from the Old Testament and Homer's works to the 18th century advocacy of an empirical science of the mind. Along the way, detailed attention is paid to the Presocratics, Plato, Aristotle, the Stoics and Epicurus, before turning to look at the New Testament, Neoplatonism, Augustine, Medieval Islam, Aquinas and Dante. Treatment of Renaissance theories is followed by an unusual (perhaps unique) chapter on the words "soul" and "mind" in English literature from Chaucer to Shakespeare; the story then rejoins the mainstream with analyses of Descartes, Spinoza, Leibniz, Hobbes, Locke, Berkeley, and Hume. Chapter-focused bibliographies.