الجزء الأول من الكوميديا الالهية:دانتي انطلق من مفهوم الجحيم في الميثولوجيا الاغريقية و التصور المسيحي بمعنى ان الجحيم يوجد في العالم السفلي تحت الأرض....تبدأ الرحلة بدخول دانتي غابة سوداء قادته الى مدخل الجحيم ليبدأ رحله تستمر عبر تسع دوائر و اربعة و ثلاثون نشيدا يقوده فيها ملهمه الأول فرجيل صاحب الانياذة..فيبدأ دانتي رحلة تشبه لحد كبير الأساطير و المعتقدات المسيحية هناك مزج غريب بين ماهو ديني ووثني في الشخصيات و انواع العذابات..تصنيف المعذبين تأثر فيه دانتي بكتاب ارسطو في الأخلاق فنجد اغلب المعذبون لأسباب أخلاقية فنجد الكذابين و المرتشين و المسرفين و المسيئين للجار في حين افرد عدة دوائر للهراطقة..المثير للجدل ايضا ذكره لثلاث شخصيات مسلمة في الدائرة الأولى الليمبو المخصص للفضلاء الوثنيين و هؤلاء لا يعذبون لكن لا يدخلون الفردوس ايضا "عذاب بلا ألم "...جزء مثير و ممتع ذكرني كثيرا بمعجزة الرسول الاسراء و المعراج و هناك للأشارة الكثير من الدراسات التي أكدت ان دانتي تأثر بشكل كبير بأخبار هذه المعجزة في كتابه الكوميديا الى جانب
بطبيعة الحال رسالة الغفران للمعري..قراءة ممتعة
اختار دانتي للجزء الثاني لمؤلفه المثير اسم المطَهر فكرة نجد لها اصولا في الديانة الوثنية و قدماء المصريين و على خلاف الجحيم الذي ينزل على المخطئين عقابا جازما و ابديا نجد في المطهر ارواحا لا كافرة و لا مؤمنةارواحا ضائعة لم تؤذ احدا سوى ذواتها فاستوجب ان تطهرها مما شابها من آثام فنجد المتكبرين و الشرهين و غيرهم..اعترف اني احسست بملل و صعوبة في اكمال هذا الجزء لتركيزه على شخصيات ايطالية و بعض الرموز التي لم
افهمها و تستدعي البحث لكنها تبقى تجربة ممتعة تستحق القراءة ايضا ..
الجزء الثالث و الأخير الفردوس عند دانتي يوجد في السماء استحقه القادة الشرفاء و المحبين و القديسين و الفلاسفة الى ان نصل الى مريم العذراء و رؤية الله اعترف اني في هذا القسم شعرت بالملل ربما لأني احسست بالغربة في الفردوس دون ان اجد ذكرا لرسولنا الكريم و لا الصحابة الكرام و لا المسلمين الذين اعتبرهم دانتي يمثلون شريعة الشر كما هو مذكور في هذا الجزء على لسان جده كاشياغيدا..اغرق دانتي هذا الجزء بملوك و قديسيين وجدت صعوبة في المام بكل هذا التاريخ المسيحي الايطالي..بالرغم من كل هذا التعقيد اجدها مغامرة تستحق القراءة..
مع محبتي

The Divine Comedy is so divine (I pass the redundancy) that we can bring some of Dante's narration to our day. Without necessarily dividing our moments into stages, we do not have to die to see the scenes we have passed. Nowadays, humanity, so sordid and unmasked, acts, treating one another personally, as if it had a particular Heaven of false power, knowing it lives in a real Hell. Worse still is not to reach out to the next, pushing them to innumerable Purgatory at once, offering no other choice. The owners of a power gaining millions and millions pretend to have mercy on suffering humanity. They continue with their shenanigans and lies, wanting the humiliated citizen to believe he is in Heaven because they are still alive. These greedy people, whom we know very well, live in an actual and particular Hell in the dispute of who can do more. People with low incomes and suffering workers are already in Purgatory. Until, occasionally, they feed a false hope that one day they will live in the Heaven of the mighty, causing paraphernalia among the many greedy miserable ones who are taking life. Pushing and trampling those who try to pass before them because many are in a hurry and believe they can get out of Purgatory and reach the Infernal Heaven of illusion and social inequality.

I started leafing through this at the bookshop round the corner, and by the time I'd got to the third page of the introduction I was intrigued. Clive James gave an insightful analysis of the Divine Comedy's poetic structure and explained, better than anyone I'd seen try this before, just how ridiculously difficult it is to produce an English-language translation that has some meaningful relationship to the original text. Everything is difficult, needless to say, but the very worst thing is the rhyme scheme.

A prose translation is flat, and large parts of the second and third books turn into boring theology; in the original, they are sublimely beautiful, and the poem gets more and more beautiful as Dante draws closer to God. Also, Dante's poetry is propulsive, carrying the action forward at a rapid pace. But it turns out, unfortunately, that you can't do terza rima in English, the language just doesn't support that verse form. James thought about it for decades, and in the end had an idea: maybe quatrains would do the job? He experimented and decided the answer was yes. I flipped forward to Canto I and found these gorgeous lines:

At the mid-point of my path through life, I found
Myself lost in a wood so dark, the way
Ahead was blotted out. The keening sound
I still make shows how hard it is to say
How harsh and bitter that place felt to me -
Merely to think of it renews the fear -
So bad that death by only a degree
Could possibly be worse. As you shall hear
It led to good things too, eventually,
But then and there I saw no sign of those,
And can't say even now how I had come
To be there, stunned and following my nose
Away from the straight path.

I was sold: James definitely had something. I paid my $20, took it home, and carried on reading.

I had previously only read the tepid Dorothy Sayers translation, some of the Longfellow, and some passages in the original, but my Italian, alas, is still nowhere near good enough to get through the whole thing that way. This was an acceptable substitute, and James was not overselling himself. The language, indeed, was often beautiful. And it really was propulsive: I often read several canti at a stretch, unable to put it down. By the time I reached the third book, where Dante ascends the spheres of heaven in the company of Beatrice, a third aspect became noticeable: it was wonderfully romantic. The adoration Dante feels for his angelic Lady leaps off the page in a way that I totally didn't recall from Sayers. For example (one passage of very many):

And so I am invited and made bold
To ask you of another truth less than
Clear to me, lady. Let me now be told
If ever it can happen that a man
May make it up to you by doing good
For vows he has not kept." She looked at me
With eyes so full of love my powers could
Do nothing to withstand the clarity
That sparkled there within. My vision shook.
I almost fainted, stunned by that one look.

As I progressed, I become more and more certain that the translator was being inspired by his own muse, and I was also sure I could identify her: in the foreword, James was very gracious about the debt he owed to his wife, Prue Shaw, who introduced him to Dante when he was still a student and eventually become an internationally acclaimed Dante scholar. When James described how Dante is dazzled by the radiance of Beatrice's smile, I thought how he was being led on his own journey by his own celestial guide. It was really quite inspiring.

I mentioned some of my theories to Not, who scornfully told me that, as any Australian knew, Prue Shaw had unceremoniously dumped her husband in 2012 when she found he'd been deceiving her for years with a much younger woman. Maybe James had had a heavenly muse, but it was less than clear who she was. It was quite conceivable that he in fact had had two muses.

Damn. Why can't life ever be as beautiful and simple as you'd like it to be? But however it was produced, I still give an unhesitating thumbs up to James's translation. If you can't read five hundred pages of medieval Italian, this is the next best thing.
_________________
[And the next day...]

Over lunch, it occurred to me to wonder whether Leanne Edelsten was in fact Clive James's anti-muse, helping him express that sense of pervasive guilt so central to Dante. Not's explanation was simpler: she thought that James, like most male writers, was a total shit.

I said that my interpretation in no way disagreed with hers, it was just more nuanced. But I am unsure whether Not found this convincing.

Inferno
I first read this book in French, when I was 25, and I immediately was swept away by its poetic force, its classical symmetrical construction and its sharp and benign view on the human condition. Brilliantly composed. Each canto tells the story of several prominent historical persons, set in breathtaking landscapes. Tragedy is all around, sometimes with a comical touch, but almost always compassionate.
The filosofical and theological dimensions are less prominent than in book II and III. I've reread this book in Dutch (both prose and lyrical translation) and in the original Italian. An everlasting treasure.
Purgatorio
Less dramatic than the first book, but in fact more beautiful, because of the perfect balance between poetic force and educative power. Quite exquisite style.
Paradiso
Very different than the other two books through its tremendous power that takes you in an other dimension, every time Dante ascends into a higher 'sphere'. Although this book treats about the everlasting truths, Dante remains very human with his questions and doubts.
Every time I read some of this book, I'm feeling I'm reaching the stars!

Teško je izmisliti toplu vodu i reći nešto o ovom vanvremenskom čudu što već nije doslovno milione puta prežvakano, preispitano i prokomentirano. Nema sumnje u uticaj koji je Danteovo maštovito proširenje biblijske teologije imalo u svim sferama italijanske, evropske i svjetske kulture. Struktura Komedije, odabir jezika, i širina Danteovog razumijevanja i poznavanja svijeta je zadivljujuće, ali budimo iskreni najveći dio njenog šarma (za mene kao površnog, neinformisanog i savremenog čitatelja) leži u činjenici da je ovo Danteov lični “burn book” - koktel njegovih ličnih zamjerki, političkih komentara i odlučnosti da sve ljude koje ne simpatiše strpa u pakao.

Božanstvena Komedija je dijete srednjovjekovne ekstremne religioznosti i pristrasnosti čovjeka kome je načinjena nepravda. Intenzivno se oslanja na Bibliju, koristeći njenu strukturu i moralni okvir kao osnovu za svoju viziju zagrobnog života. Ipak, njegovo djelo je duboko lično i subjektivno, sa likovima iz njegovog života, politike i istorije koje sa velikim oduševljenjem koristi u svakoj prilici da nam stavi do znanja šta misli o doslovno svemu.

Direktni citati, psalmi i pasusi Biblije su često prisutni, ali čini se da je nebiblijska hrišćanska mitologija zapravo pravi osnov romana osim ukoliko tlocrti tri zagrobna carstva nisu i tamo ovako detaljno prikazani. Danteov prikaz božanske pravde je vrlo surov i često nelogičan, što odgovara onim nepoznatim gospodnjim putevima, ali uvijek je u svojoj srži oslonjen na njegov lični stav o tome gdje ko treba da završi i kako se do kojeg nivoa savršenosti dolazi. Dante koristi biblijske ličnosti, slike i simbole da opravda svoje stavove, oni ga uvijek podržavaju, ohrabruju ga i savjetuju tako da Božanstvena komedija iako potčinjena biblijskoj teologiji zapravo služi kao kreativna reinterpretacija Biblije oblikovana Danteovim pogledima na svijet. Međutim, ne bih rekao da je ovo samo platforma za rješavanje ličnih sukoba jer kritika političke korupcije, crkve, rasparčanih italijanskih polisa je vrlo validna i uglavnom Dante ima razumne razloge za stavljanje svojih neprijatelja (npr. papa Bonifacije VIII, Filippo Argenti) u pakao (osim kada nisu potpuno sumanuti - mada i tada su u skladu sa moralnim okvirom koji si Dante uspostavlja te je, ako ništa, dosljedan).

Rijetko ko se može pohvaliti uticajem na književnost kao ovaj nosati gospodin, a što je apsolutno zasluženo s obzirom na složenost ovog djela u koje je upleten čitav Danteov život, kompletna klasična antička biblioteka, politika predrenesansne Evrope i Danteovo neprikosnoveno baratanje jezikom čije mogućnosti ispituje do krajnjih granica. Ukratko, limb - najprimamljiviji, pakao - strašan, čistilište - pakao lite, raj - tradicionalno dosadan i naporan.

Mein Fazit: Eine Bildungslücke geschlossen, aber ein Vergnügen war es nicht. Ohne solide Kenntnisse der griechischen Mythologie, der römischen Dichtung und der politischen Verhältnisse in Florenz um 1300 gerät die Lektüre (trotz eines umfangreichen Kommentars) schnell zu einer zähen Angelegenheit. Das Inferno kann noch mit einigen interessanten Qualen aufwarten, Purgatorium und erst recht das Paradies sind dagegen die Langeweile pur.

Gli anniversari sono dei motori di attenzione, di stimoli di solito fatui, ma a volte anche potenti.
Questo anniversario dantesco ha messo in moto un sacco di meccanismi editoriali. E così mi sono trovato, impigliato in uno di questi, a dovermi leggere finalmente in modo sistematico, radiografico, la Divina Commedia per tirarne fuori cose strane che non è qui il caso di dire.
(“Dovermi” parla di una rogna, “finalmente” di un desiderio. Vere tutte e due le cose.)

Scrivo due righe solo per lo scrupolo che magari l’esperienza possa attrarre o magari persino essere tecnicamente utile.
Il piano iniziale (frutto di una mediazione. Al ribasso!) era da scappare.
Introduzione al singolo canto (testo base per questa fase 1, proprio il Sermonti, in tre preziosi volumi, ma su RaiPlay ci sono anche i filmati di tutte le sue letture dal vivo: meglio di qualsiasi serie tv). Poi prima lettura, perifrasi (testo base, la versione digitale UTET: agile, rigorosa, efficace); infine seconda lettura. Rilettura complessiva delle tre cantiche alla fine della lettura di tutti i canti di ciascuna. Rilettura finale generale.
Tempo impiegato: cinque mesi. Per fare una cosa seria, farsi sconti significa rimetterci.
Soprattutto perché, nel durante, dalla prima terzina e per tutte le tre cantiche, scopri e ti ritrovi a godere di una splendida vacanza di lettura, un libro-mondo, come dice Sermonti (se l’aldilà esiste Dante lo ha assunto, sicuro).

Un viaggio avventurosissimo, una serie di incontri altrimenti inimmaginabili, un gioco enigmistico da professionisti, un ripasso enciclopedico, un continuo aprirsi di scorci mentali abissali, di visuali imprevedibili, di panorami mentali e geospaziali mozzafiato, di una folla di personaggi uno più strano e fascinoso dell'altro, di rimandi labirintici, di invettive implacabili, di spudorate confessioni. Ci si trova davanti ad una bellezza espressiva sovrumana (è possibile fare di più con le cose semplicemente nominandole?), di architettura dei versi in simmetrie perfette, frutto di lucidissima ed autentica follia.
E poi ti fai una amicizia vera con un compagno di viaggio capace di ire e dolcezze esagerate, affidabile e premuroso, intollerante e malinconico, severissimo e compassionevole.
Con un finale apertissimo, sorprendente, insondabile, frutto di una delle sensibilità estetiche, mistiche e poetiche più estreme che si siano mai manifestate al mondo.

Bene. Il mio dovere di lettore social io l'ho assolto.
Se a questo punto, a qualcuno fosse balenata la tentazione di imbarcarsi, ecco quel che Dante mette sulla carta di imbarco della tappa più perigliosa e abbacinante, il Paradiso (ma vale per tutto il viaggio)

“O voi che siete in piccioletta barca,
desiderosi d’ascoltar, seguìti
dietro al mio legno che cantando varca,

tornate a riveder li vostri liti:
non vi mettete in pelago, ché, forse,
perdendo me, rimarreste smarriti.

L’acqua ch’io prendo già mai non si corse”

Ενα από τα αριστουργήματα της παγκόσμιας λογοτεχνίας. Οχι εύκολο πλην όμως απαραίτητο να διαβαστεί από τον λάτρη του βιβλίου. Γιατί όπως και να το κάνουμε, Η Θεία Κωμωδία θεωρείται (και είναι), βιβλίο σταθμός.

Îți trebuie un curaj nebun ca să propui o recenzie a Divinei comedii. Nu am acest tupeu. De aceea voi aminti că însuși poetul a oferit o cheie de lectură. Nu înainte de a preciza că titlul originar al poemului e Commedia. Adjectivul „divină” a fost adăugat mai tîrziu de unul dintre exegeți, poate de Boccaccio, care a scris și o Viață a lui Dante.

Comentariul poetului se găsește în (probabil) apocrifa Scrisoare a XIII-a, către Can Grande, vicar imperial. În opinia autorului, Divina comedie prezintă într-o formă lirică trecerea sufletului de la o stare nefericită la una fericită, drumul de la infern la paradis, izbînda asupra răului. Itinerariul poetului (şi al cititorului său) se încheie cu bine. Cînd lucrurile sfîrșesc prost e vorba, firește, de o tragedie. Dar Dante a ales să compună o comedie.

Într-o viziune grandioasă, personajul Dante vizitează infernul, purgatoriul şi paradisul. Şi, pentru a nu se rătăci, îl urmează prin tenebre, pînă în pragul paradisului, pe Vergiliu, autorul Bucolicelor şi al Eneidei. Rostul poetului latin este să-l îndrume pe călător prin nişte locuri rele, să-l protejeze, să-i arate ieşirea. Rostul poetului este, în chip analog, acela de a-l îndruma pe cititor să iasă cu bine din labirintul poemului. În acest chip, lectura însăşi devine o comedie divină, un exerciţiu hermeneutic reuşit, o izbîndă. Întreaga abilitate a autorului vizează tocmai împăcarea din final. Dar poetul nu se mulţumeşte cu atît.

El îşi prezintă cu lux de amănunte procedeele retorice, îl invocă pe Cicero cu lucrarea sa De inventione rhetorica, face o trimitere precisă la Retorica lui Aristotel, cartea a III-a, îşi explică metaforele, analogiile, sugestiile, precizează sensurile suprapuse.

Literal, este vorba de „starea sufletelor după moarte”. Alegoric însă, Divina comedie se referă la peripeţiile omului după cădere, la nechibzuita folosire a liberului arbitru, la pedeapsă şi răsplată, la opţiunea dintre bine şi rău, la soluţia oricărei dificultăţi prin iubire, care e opusul păcatului. Stilul terţinelor, face adaos poetul florentin în epistolă, este umil, întrucît a scris în vulgară, pe înţelesul celor mulţi.

Ba chiar şi pe înțelesul gospodinelor, adaugă malițios.

P. S. Scrisoarea a XIII-a este un rezumat şi o parafrază după o lucrare mai veche, Convivio: Banchetul.

El autor manda a todos sus enemigos al infierno, conoce a su ídolo y la chica que ama finalmente lo pesca. Lejos el mejor fanfic que he leído. 100% recomendado.

I am back reading another version of The Divine Comedy. This translation by Australian poet Clive James is the most lyrical that I have read. It is as if I was reading it for the first time and with all that joy of discovery.

This review is based on the first book of this trilogy.

"Had I the bitter, grating rhymes to fit
This grim hole on which all the other rocks
Bear down, I’d do a better job of it
When pressing out my thought’s sap.
But what blocks
The flow is just that:
my soft, childish tongue.
It is with fear that I begin to speak,
Because a language we employ when young
To call our mother “mummy” is too weak
To use, even in sport, when touching on
The lowest level of the universe..."

"And though my frozen face
Felt nothing, like a callus, still somehow
I felt the wind, and more than just a trace.
“Master,” I said, “What causes this?
I thought All heat down here was quenched.”
And he to me: “Your eyes will soon be able to report
Directly, for the cause you’ll plainly see
That drives the blast.” And from his frozen crust
One of the wretches cried: “O souls so cruel
You roam free in the last pit of despair,
Lift off my brittle veils and break the rule,
That I might just a little give release
To the sadness that swells my heart, before
My tears freeze up again. So they will cease…"

This took me 16 days to finish definitely the longest time I've spent on a book by far. I've been wanting to read this for a long time and I'm glad I've picked up a physical copy up from the library because geez was it a struggle to get through. A very rewarding one but still took a lot of patience, which I usually don't posses. I'm very happy and proud I've finished it but doubt I got the whole picture but still a good classic.