The Inferno (Signet Classics)
Format: PDF / Kindle (mobi) / ePub
Belonging in the company of the works of Homer and Virgil, The Inferno is a moving human drama, a journey through the torment of Hell, an expression of the Middle Ages, and a protest against the ways in which men have thwarted the divine plan.
impersonated Buoso di Donati (1. 44) in a deathbed confession. Posing as Buoso—who had already died, without having left his fortune to his son, Simone—Gianni first gave himself some bequests, including a very handsome mare (“the lady of the herd,” 1. 43), then made sure that Simone inherited most of Buoso’s fortune. This story is the source of Giacomo Puccini’s opera Gianni Schicchi. 5 (p. 155) and raving goes: Gianni, who we soon learn is guilty of the sin of impersonation, is “raving,” the
envenomed fork, That in the guise of scorpion armed its point. Canto XVII: The Descent of the Abyss on Geryon’s Back The Guide said: “Now perforce must turn aside Our way a little, even to that beast Malevolent, that yonder coucheth him.” We therefore on the right-hand side4 descended, And made ten steps upon the outer verge, Completely to avoid the sand and flame; And after we are come to him, I see A little farther off upon the sand A people sitting near the hollow place. Then said to
dancers, a process that becomes more and more complicated as more and more body parts are indicated and imitated rapidly by the dancers. 6 (p. 74) ”All things except the demons dire“: While praising his guide, the Pilgrim is not above reminding Virgil that he was unsuccessful in overcoming the demons that obstructed their path at the gate of Dis. 7 (P. 74) ”seems not to ripen him“: While many translators and editors of the text construe the Italian word here to mean ”ripen“ or ”soften,“ it may
guide, Virgil lifts him up bodily and carries him back out of the bolgia, holding him against his breast; when Virgia carried the Pilgrim down into the bolgia, he clasped him to his side, or “haunch” (1. 43). Placed on the bridge overlooking the fourth Bolgia, the Pilgrim will now encounter fortune-tellers and diviners. CANTO XX 1 (p. 101) to the twentieth canto ... of the submerged: For the first time, Dante actually assigns a number to a canto, and he calls the entire Inferno the “first song”
identified with the Donati family by early commentators on Dante. Soon, in 1. 50, he will appear in the form of a serpent. 7 (p. 127) from chin to nose my finger laid: Dante the Pilgrim bids Virgil to remain silent. 8 (p. 127) Behold! A serpent with six feet ...fastens wholly on him: The treatment of the thieves allows Dante to try his hand at the poetry of metamorphosis and to challenge the poets identified with this subject matter, Ovid and Lucan, with his own skill. Vanni Fucci was the first