Ronald L. Martinez – författare

This is a new prose translation of Dante's epic. A newly edited version of the Italian text will be on facing pages. This edition includes fully comprehensive notes with the latest in contemporary scholarship as well as 16 short essays on special subjects at the end of the book.

In the early 1300s, Dante Alighieri set out to write the three volumes which make the up The Divine Comedy. Purgatorio is the second volume in this set and opens with Dante the poet picturing Dante the pilgrim coming out of the pit of hell. Similar to the Inferno (34 cantos), this volume is divided into 33 cantos, written in tercets (groups of 3 lines). The English prose is arranged in tercets to facilitate easy correspondence to the verse form of the Italian on the facing page, enabling the reader to follow both languages line by line. In an effort to capture the peculiarities of Dante's original language, this translation strives toward the literal and sheds new light on the shape of the poem. Again the text of Purgatorio follows Petrocchi's La Commedia secondo l'antica vulgata, but the editor has departed from Petrocchi's readings in a number of cases, somewhat larger than in the previous Inferno, not without consideration of recent critical readings of the Comedy by scholars such as Lanza (1995, 1997) and Sanguineti (2001). As before, Petrocchi's punctuation has been lightened and American norms have been followed. However, without any pretensions to being "critical", the text presented here is electic and being not persuaded of the exclusive authority of any manuscript, the editor has felt free to adopt readings from various branches of the stemma. One major addition to this second volume is in the notes, where is found the Intercantica - a section for each canto that discusses its relation to the Inferno and which will make it easier for the reader to relate the different parts of the Comedy as a whole.

This is the first volume of a new prose translation of Dante's epic - the first in twenty-five years. Robert Durling's translation brings a new power and accuracy to the rendering of Dante's extraordinary vision of Hell, with its terror, pathos, and sardonic humour, and its penetrating analyses of the psychology of sin and the ills that plague society.A newly edited version of the Italian text can be on facing pages, and this edition includes fully comprehensive notes as well as sixteen essays on special subjects.

One of the greatest living Italian-to-English translators, Robert Durling's rendition of the third and final volume of Dante's masterful literary epic is now available in paperback. As with the two preceding volumes, Durling's precise and powerful translation of Paradiso appears alongside the original Italian text recounting Dante's journey through heaven with the beautiful Beatrice. The end of each canto contains thorough yet succinct notes by Durling and Ronald Martinez that acquaint the reader with Dante's medieval world and his reference points. Thus the volume will appeal to the general reader as well as lovers and students of Italian literature, language, and history. While English-language translations of the Commedia abound, the accuracy and lyrical verve of Durling's translations have earned him a place as one of the all time greats.

In the early 1300s, Dante Alighieri set out to write the three volumes which make the up The Divine Comedy. Purgatorio is the second volume in this set and opens with Dante the poet picturing Dante the pilgrim coming out of the pit of hell. Similar to the Inferno (34 cantos), this volume is divided into 33 cantos, written in tercets (groups of 3 lines). The English prose is arranged in tercets to facilitate easy correspondence to the verse form of the Italian on the facing page, enabling the reader to follow both languages line by line. In an effort to capture the peculiarities of Dante''s original language, this translation strives toward the literal and sheds new light on the shape of the poem. Again the text of Purgatorio follows Petrocchi''s La Commedia secondo l''antica vulgata, but the editor has departed from Petrocchi''s readings in a number of cases, somewhat larger than in the previous Inferno, not without consideration of recent critical readings of the Comedy by scholars such as Lanza (1995, 1997) and Sanguineti (2001). As before, Petrocchi''s punctuation has been lightened and American norms have been followed. However, without any pretensions to being "critical", the text presented here is electic and being not persuaded of the exclusive authority of any manuscript, the editor has felt free to adopt readings from various branches of the stemma. One major addition to this second volume is in the notes, where is found the Intercantica - a section for each canto that discusses its relation to the Inferno and which will make it easier for the reader to relate the different parts of the Comedy as a whole.

Robert Durling''s spirited new prose translation of the Paradiso completes his masterful rendering of the Divine Comedy. Durling''s earlier translations of the Inferno and the Purgatorio garnered high praise, and with this superb version of the Paradiso readers can now traverse the entirety of Dante''s epic poem of spiritual ascent with the guidance of one of the greatest living Italian-to-English translators. Reunited with his beloved Beatrice in the Purgatorio, in the Paradiso the poet-narrator journeys with her through the heavenly spheres and comes to know "the state of blessed souls after death." As with the previous volumes, the original Italian and its English translation appear on facing pages. Readers will be drawn to Durling''s precise and vivid prose, which captures Dante''s extraordinary range of expression--from the high style of divine revelation to colloquial speech, lyrical interludes, and scornful diatribes against corrupt clergy. This edition boasts several unique features. Durling''s introduction explores the chief interpretive issues surrounding the Paradiso, including the nature of its allegories, the status in the poem of Dante''s human body, and his relation to the mystical tradition. The notes at the end of each canto provide detailed commentary on historical, theological, and literary allusions, and unravel the obscurity and difficulties of Dante''s ambitious style . An unusual feature is the inclusion of the text, translation, and commentary on one of Dante''s chief models, the famous cosmological poem by Boethius that ends the third book of his Consolation of Philosophy. A substantial section of Additional Notes discusses myths, symbols, and themes that figure in all three cantiche of Dante''s masterpiece. Finally, the volume includes a set of indexes that is unique in American editions, including Proper Names Discussed in the Notes (with thorough subheadings concerning related themes), Passages Cited in the Notes, and Words Discussed in the Notes, as well as an Index of Proper Names in the text and translation. Like the previous volumes, this final volume includes a rich series of illustrations by Robert Turner.

Robert Durling''s spirited new prose translation of the Paradiso completes his masterful rendering of the Divine Comedy. Durling''s earlier translations of the Inferno and the Purgatorio garnered high praise, and with this superb version of the Paradiso readers can now traverse the entirety of Dante''s epic poem of spiritual ascent with the guidance of one of the greatest living Italian-to-English translators. Reunited with his beloved Beatrice in the Purgatorio, in the Paradiso the poet-narrator journeys with her through the heavenly spheres and comes to know "the state of blessed souls after death." As with the previous volumes, the original Italian and its English translation appear on facing pages. Readers will be drawn to Durling''s precise and vivid prose, which captures Dante''s extraordinary range of expression--from the high style of divine revelation to colloquial speech, lyrical interludes, and scornful diatribes against corrupt clergy. This edition boasts several unique features. Durling''s introduction explores the chief interpretive issues surrounding the Paradiso, including the nature of its allegories, the status in the poem of Dante''s human body, and his relation to the mystical tradition. The notes at the end of each canto provide detailed commentary on historical, theological, and literary allusions, and unravel the obscurity and difficulties of Dante''s ambitious style . An unusual feature is the inclusion of the text, translation, and commentary on one of Dante''s chief models, the famous cosmological poem by Boethius that ends the third book of his Consolation of Philosophy. A substantial section of Additional Notes discusses myths, symbols, and themes that figure in all three cantiche of Dante''s masterpiece. Finally, the volume includes a set of indexes that is unique in American editions, including Proper Names Discussed in the Notes (with thorough subheadings concerning related themes), Passages Cited in the Notes, and Words Discussed in the Notes, as well as an Index of Proper Names in the text and translation. Like the previous volumes, this final volume includes a rich series of illustrations by Robert Turner.

The Rime petrose, Dante's powerful lyrics about a woman as beautiful and as hard as a precious stone, are generally acknowledged to be an important moment in his stylistic development. In this full-length investigation of the poetics of the petrose and of their relation to TheDivine Comedy, Robert M. Durling and Ronald L. Martinez uncover new material, especially from medieval science (astrology and mineralogy), philosophy, and theology. The authors argue that the Rime petrose represent a major turning point in Dante's conception of a "microcosmic poetics" that became the fundamental mode of the Commedia. They demonstrate how Dante here attempts his first full account of his relation to the universe as a whole.  This work offers many insights into the intrinsic significance of these remarkable poems and their place in Dante's development. Especially far-reaching are the implications for the interpretation of TheDivine Comedy.Time and the Crystal will interest not only students of Dante but also intellectual historians, historians of science, students of poetics and poetic theory, and all those interested in medieval literature.  This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand

The Rime petrose, Dante's powerful lyrics about a woman as beautiful and as hard as a precious stone, are generally acknowledged to be an important moment in his stylistic development. In this full-length investigation of the poetics of the petrose and of their relation to TheDivine Comedy, Robert M. Durling and Ronald L. Martinez uncover new material, especially from medieval science (astrology and mineralogy), philosophy, and theology. The authors argue that the Rime petrose represent a major turning point in Dante's conception of a "microcosmic poetics" that became the fundamental mode of the Commedia. They demonstrate how Dante here attempts his first full account of his relation to the universe as a whole.   This work offers many insights into the intrinsic significance of these remarkable poems and their place in Dante's development. Especially far-reaching are the implications for the interpretation of TheDivine Comedy.Time and the Crystal will interest not only students of Dante but also intellectual historians, historians of science, students of poetics and poetic theory, and all those interested in medieval literature.   This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand

The Rime petrose, Dante's powerful lyrics about a woman as beautiful and as hard as a precious stone, are generally acknowledged to be an important moment in his stylistic development. In this full-length investigation of the poetics of the petrose and of their relation to TheDivine Comedy, Robert M. Durling and Ronald L. Martinez uncover new material, especially from medieval science (astrology and mineralogy), philosophy, and theology. The authors argue that the Rime petrose represent a major turning point in Dante's conception of a "microcosmic poetics" that became the fundamental mode of the Commedia. They demonstrate how Dante here attempts his first full account of his relation to the universe as a whole.  This work offers many insights into the intrinsic significance of these remarkable poems and their place in Dante's development. Especially far-reaching are the implications for the interpretation of TheDivine Comedy.Time and the Crystal will interest not only students of Dante but also intellectual historians, historians of science, students of poetics and poetic theory, and all those interested in medieval literature.  This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand