ISBN-10: 0195087453

ISBN-13: 9780195087451

Edition: 2004

List price: $24.99 Buy it from $21.51
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The second volume of Oxford's new Divine Comedy presents the Italian text of the Purgatorio and, on facing pages, a new prose translation. Continuing the story of the poet's journey through the medieval Other World under the guidance of the Roman poet Virgil, the Purgatorio culminates in the regaining of the Garden of Eden and the reunion there with the poet's long-lost love Beatrice. This new edition of the Italian text takes recent critical editions into account, and Durling's prose translation, like that of the Inferno, is unprecedented in its accuracy, eloquence, and closeness to Dante's syntax. Martinez' and Durling's notes are designed for the first-time reader of the poem but include a wealth of new material unavailable elsewhere. The extensive notes on each canto include innovative sections sketching the close relation to passages--often similarly numbered cantos--in the Inferno. Fifteen short essays explore special topics and controversial issues, including Dante's debts to Virgil and Ovid, his radical political views, his original conceptions of homosexuality, of moral growth, and of eschatology. As in the Inferno, there is an extensive bibliography and four useful indexes. Robert Turner's illustrations include maps, diagrams of Purgatory and the cosmos, and line drawings of objects and places mentioned in the poem.
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Book details

List price: $24.99
Copyright year: 2004
Publisher: Oxford University Press, Incorporated
Publication date: 4/8/2004
Binding: Paperback
Pages: 720
Size: 6.00" wide x 9.00" long x 2.00" tall
Weight: 2.530

Born Dante Alighieri in the spring of 1265 in Florence, Italy, he was known familiarly as Dante. His family was noble, but not wealthy, and Dante received the education accorded to gentlemen, studying poetry, philosophy, and theology. His first major work was Il Vita Nuova, The New Life. This brief collection of 31 poems, held together by a narrative sequence, celebrates the virtue and honor of Beatrice, Dante's ideal of beauty and purity. Beatrice was modeled after Bice di Folco Portinari, a beautiful woman Dante had met when he was nine years old and had worshipped from afar in spite of his own arranged marriage to Gemma Donati. Il Vita Nuova has a secure place in literary history: its vernacular language and mix of poetry with prose were new; and it serves as an introduction to Dante's masterpiece, The Divine Comedy, in which Beatrice figures prominently. The Divine Comedy is Dante's vision of the afterlife, broken into a trilogy of the Inferno, Purgatory, and Paradise. Dante is given a guided tour of hell and purgatory by Virgil, the pagan Roman poet whom Dante greatly admired and imitated, and of heaven by Beatrice. The Inferno shows the souls who have been condemned to eternal torment, and included here are not only mythical and historical evil-doers, but Dante's enemies. The Purgatory reveals how souls who are not irreversibly sinful learn to be good through a spiritual purification. And The Paradise depicts further development of the just as they approach God. The Divine Comedy has been influential from Dante's day into modern times. The poem has endured not just because of its beauty and significance, but also because of its richness and piety as well as its occasionally humorous and vulgar treatment of the afterlife. In addition to his writing, Dante was active in politics. In 1302, after two years as a priore, or governor of Florence, he was exiled because of his support for the white guelfi, a moderate political party of which he was a member. After extensive travels, he stayed in Ravenna in 1319, completing The Divine Comedy there, until his death in 1321.

Notes to Canto 1
Notes to Canto 2
Notes to Canto 3
Notes to Canto 4
Notes to Canto 5
Notes to Canto 6
Notes to Canto 7
Notes to Canto 8
Notes to Canto 9
Notes to Canto 10
Notes to Canto 11
Notes to Canto 12
Notes to Canto 13
Notes to Canto 14
Notes to Canto 15
Notes to Canto 16
Notes to Canto 17
Notes to Canto 18
Notes to Canto 19
Notes to Canto 20
Notes to Canto 21
Notes to Canto 22
Notes to Canto 23
Notes to Canto 24
Notes to Canto 25
Notes to Canto 26
Notes to Canto 27
Notes to Canto 28
Notes to Canto 29
Notes to Canto 30
Notes to Canto 31
Notes to Canto 32
Notes to Canto 33
Vergil, Eclogue IV
Guido Cavalcanti's "Pastorella"
Additional Notes
Cato of Utica (Canto 1)
The Meeting with Casella (Canto 2)
Belacqua and the Horizons of Purgatory
Vergil's Palinurus in Purgatorio and the Rudderless Ship of State (Canto 6)
The Canonical Hours; Compline (Canto 8)
The Terrace of Pride: i. Structure and Rationale (Cantos 10-12)
The Terrace of Pride: ii. The Theme of Art (Cantos 10-12)
San Miniato al Monte and Dante's Pride of Workmanship (Canto 12)
Number, Light, Motion, and Degree at the Center of the Comedy
Dante and Forese (Cantos 23-24)
Embryology and Heredity (Canto 25)
The Virtues of the Virgin Mary (After Canto 27)
Dante and Ovid's Pyramus (Canto 27)
Virgil and the Fourth Eclogue (Canto 30)
Rolling Out the Apocalypse (Cantos 29-33)
Textual Variants
Index of Italian, Latin, and Other Foreign Words Discussed in the Notes
Index of Passages Cited in the Notes
Index of Proper Names in the Notes
Index of Proper Names in the Text and Translation
Italy, ca. 1300
Romagna and Tuscany, ca. 1300
The Celestial Sphere and the Zodiac
The Structure of Dante's Purgatory
The relative positions of the Ganges, Purgatory, Gibraltar, and Jerusalem
Sunset in Jerusalem, sunrise in Purgatory
Melancholy (from the illustration to Ps. 41.6 in the Stuttgart Psalter, from Saint Germain des Pres, ca. 820)
Guardian angels (from the mosaic in the Baptistery, Florence, 1290's?)
The Annunciation (from the painting by Simone Martini in the Uffizi, Florence, 1333)
A Telamon (from the tribune of the Baptistery, Florence, ca. 1225)
A tomb slab (from the tomb of Michele da Budrio, by Iacopo della Quercia: Bologna, San Michele in Bosco, 1435)
The stairway to San Miniato in Dante's time (based on the illustration by Pietro del Massaio in Jacopo d'Angelo's translation of Ptolemy's Geography, Cod. Vat. Urb. Lat. 299, 1470)
The four Evangelists (from the font canopy in the cathedral, Cividale, ca. 775)
Ladies dancing and singing a ballata (from the fresco by Andrea Bonaiuti, Santa Maria Novella, Florence, ca. 1355)
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