Dante's Inferno: Which translation to read?

[Raven Falcon.]

BETTER TITLE: Is Dante's Inferno too Christian?

There are many English translations of Dante's Inferno on and off the internet.

I myself bought a copy of the Collins' Edition of the epic. It is in poetic form, but not rhymed.

I also downloaded a translation in prose-poetic form. I skimmed through it and found the language quite exquisite.

Now I am undecided about which translation I am to read in earnest.

I very well know that this forum is inhabited by many online persona who appreciate and consider literature as a ubiquitous part of the collective human endeavor; and I use this awareness as the basis of my intention, that is to ask you, the said literature enthusiasts, these questions:

1. If let us say one is an agnostic, or a non-Christian, would he or she enjoy or at least be able to appreciate Inferno? If so, in what aspects? Otherwise, will the non-Christian be able to appreciate its aesthetic qualities?

2. Language wise, how beautiful is it? Do bear in mind that beauty here is not the literal one, but its abstract cousin.

3. If the language is beautiful, is it necessary that one should read it in its full poetic form?

4. How does it handle the ever-present issues of morality? Is it handled in black-and-white, either-this-or-that way? In short: is there any moral ambiguity? Are the sinners bad and flawed in every definition of bad and flawed?

5. To the non-religious, atheists, agnostics, pantheists, and others who do not believe in the personal god and afterlife, is the work a masterpiece still? Does it teach anything to them spiritually?

6. Would one be still impressed by the depth and vastness of the epic has he or she been exposed to the wonders of the universe as revealed by science?

I shall now say my gratitude: thank you all.

[Charles Darnay]

This question comes up once every few months, look around the Dante section

[Raven Falcon.]

This question comes up once every few months, look around the Dante section

I beg you to answer the questions.
Thank you.

[mal4mac]

It's worth asking afresh every few months! But I'm sure many, like me, can't be bothered answering this one *again* ...

[Raven Falcon.]

It's worth asking afresh every few months! But I'm sure many, like me, can't be bothered answering this one *again* ...

Read the questions, please. I believe two or three of my questions have not been answered in other threads before.

[stlukesguild]

1. If let us say one is an agnostic, or a non-Christian, would he or she enjoy or at least be able to appreciate Inferno? If so, in what aspects? Otherwise, will the non-Christian be able to appreciate its aesthetic qualities?

Let's simply use some common sense on this one. Why should your religious belief (or lack thereof) have any impact upon your ability to appreciate The Inferno (or the Comedia as a whole?). I can embrace the Arabian Nights and the Shanameh and the Mahabharata and The Odyssey and the Tao te ching and any number of books written by authors with religious/spiritual (to say nothing of social/political) views different from my own. I have never thought that the goal of reading is to simply reinforce my own experiences, beliefs, values, standards, etc... Indeed, I have long felt that one of the values of reading is that it opens the reader up to other experiences, beliefs, values, standards, etc...

The Inferno/Comedia is one of the central texts of Western literature... and quite simply one of the greatest books ever written. It works on many different levels. On one level it is the narrative of the personal, spiritual Odyssey of the author. On another level, it is a political tract, conveying the author's disappointment (and anger) with both the church and the aristocracy/state. Still on another level, it is a classic "frame story" (like the Shanameh, the Arabian Nights, Canterbury Tales, etc...) in which the author has collected and strung together an array of marvelous narratives. The Inferno is unforgettable (and has continued to inspire subsequent writers and artists) if only for the marvelous array of narratives and characters. All of that which I have written barely scrapes the surface of all that the Inferno/Comedia is.

2. Language wise, how beautiful is it? Do bear in mind that beauty here is not the literal one, but its abstract cousin.

From those who know Italian well, I have been told that The Comedia is one of the most "beautiful" works in terms of language. One should not confuse "beautiful" with "pretty". Dante makes use of a broad array of approaches to language. He can, indeed, be an exquisite poet. He was known for giving birth to the "sweet new style" in the sonnets of his La Vita Nuova. But at the same time, he can become formal and rhetorical when necessary, or gruff, crude, and vulgar when the subject demands as much.

3. If the language is beautiful, is it necessary that one should read it in its full poetic form?

The Inferno/Comedia is one of those works that is so central to Western literature as a whole that it is advisable that one explore several different translations if one cannot read the original. My personal favorites, include the poetic/rhymed (if not full terza-rima) translation of John Ciardi. For a generation, Ciardi was Dante to the English-speaking world. His translation is elegant... and beautiful (and includes a copious amount of notes). If there is any criticism of Ciardi's Dante, it is that he is too "beautiful"... he is not crude enough in the darker passages.

My favorite contemporary translation is that of Jean & Robert Hollander. The Hollanders abandon any efforts at rhyme or recreation of Dante's poetic form, preferring to convey as accurately as possible just what is being conveyed. In spite of this, their prose is quite poetic... and I cannot think of a better translation (excluding Ciardi's)... and I have read some 5 or 6. The Hollanders also have the advantage of the best notes available... by professor Hollander, who has been teaching Dante for some 30 years.

Beyond these two... you might consider the poet, Robert Pinsky's translation of The Inferno which maintains the poet's poetic form and even the terza rima rhyme. He achieves this without a convoluted syntax or awkward forced rhymes by using half rhyme or near rhyme: could/had etc... Pinsky is especially apt at bringing out the fierce nature of The Inferno (which after all... is set in Hell).

4. How does it handle the ever-present issues of morality? Is it handled in black-and-white, either-this-or-that way? In short: is there any moral ambiguity? Are the sinners bad and flawed in every definition of bad and flawed?

Are the sinners wholly evil? Dante (the character) expresses empathy and sympathy for any number of the damned who he meets along his journey. He, himself, questions their punishment... and whether they might ever hope for release. At the same time, Dante (the writer) lived during an era in which God in his infinite wisdom is not to be questioned.

5. To the non-religious, atheists, agnostics, pantheists, and others who do not believe in the personal god and afterlife, is the work a masterpiece still? Does it teach anything to them spiritually?

I already touched on this above. Of course it is still a masterpiece. Does it teach you anything? Is the role of literature to teach?

6. Would one be still impressed by the depth and vastness of the epic has he or she been exposed to the wonders of the universe as revealed by science?

Does the Sistine Ceiling still leave me in awe in spite of having seen the edges of the universe through the pictures from the Hubble telescope? Of course it does? Science in no way diminishes the magic of the Biblical narratives of the Creation, the Greco-Roman imaginings of narratives of the Gods, the fantasies of the Arabian Nights, the Shanameh, or Alice in Wonderland. Why should the Inferno be any different?

[Mutatis-Mutandis]

1. Yes. I'm an atheist and I loved it.

2. Very.

3. What other form would one read it?

4. Read and decide for yourself, if a message like that matters to you.

5. Yes and not really.

6. Don't really get this question, seeing as it deals with fictitious settings. Science really has nothing to do with it.

Bottom line: not being a Christian shouldn't be a reason not to read it. Just as it shouldn't be a reason to enjoy baroque art or even the bible. I've found one of the biggest problems with atheists is the inability to like a piece of art that endorses religion because that's all they judge it on. It's a shame.

[Pierre Menard]

I've found one of the biggest problems with atheists is the inability to like a piece of art tag endorses religion because that's all they judge it on. It's a shame.

This. Definitely.

I know far too many atheists who completely lose sight of a works artistic credentials as soon as they find out it has religious connotations. I remember someone I know getting quite angry at me for saying that I would like to read the bible despite the fact that I'm not religious.

[andave_ya]

It could very well be that I'm biased. Could be. I'm a Christian, a literature major, and I'm doing a big senior project on Dante. Forgive me if I'm a little overblown in my defense of Dante

1. If let us say one is an agnostic, or a non-Christian, would he or she enjoy or at least be able to appreciate Inferno? If so, in what aspects? Otherwise, will the non-Christian be able to appreciate its aesthetic qualities?

I find this question rather insulting, actually. I would like to think that human beings can appreciate quality, truth, beauty, etc. in any form, religious or secular, for what it has to reveal to or about the world and how it's made. You can definitely appreciate and enjoy this no matter what you believe. However, I think it's very dangerous to try to sever a book from the worldview it was written in (if not downright impossible.) You lose far too much of the book that way (to say nothing of authorial intent and ability.) Each author's worldview is to him more or less consistent, and he's writing from that perspective. For example, one of the things I find sublime about Dante is how well-ordered the entire Comedia is. Dorothy L. Sayers talks about the book's architectural quality--everything laid out clearly and beautifully, yet chock-full of symbolism and layers upon layers of meaning. But 'order' itself is a very Christian and traditional concept. You can certainly appreciate it just for what it has to reveal about the Medieval mindset; that's one layer. But how much more does it add to appreciate the biblical understanding: that order reflects the intelligence and beautiful design of the Creator?

All that to say, I suppose, that it would certainly be more personally meaningful to you if you were a Christian--but you are certainly equipped to enjoy and appreciate it even if you aren't; you'd have to be a lump of rock not to get anything out of the experience.

4. How does it handle the ever-present issues of morality? Is it handled in black-and-white, either-this-or-that way? In short: is there any moral ambiguity? Are the sinners bad and flawed in every definition of bad and flawed?

Yes. But so is Dante the pilgrim. One of the crucial tenets of Christianity is that it is only by God's grace we are saved from the logical and warranted consequences of our "bad-and-flawed" nature. So yes, it's black and white, but oh my word, the grace! The Purgatorio has been making me cry for it.

6. Would one be still impressed by the depth and vastness of the epic has he or she been exposed to the wonders of the universe as revealed by science?

Read Paradiso

I really hope you read the entirety of the Divine Comedy. If you really think that your being an atheist or agnostic will hinder you from appreciating any religious piece of art or literature I will give you the biggest pep talk of your life =)