Customer Reviews:
Showing reviews 1-5 of 30
 This is NOT MUSA's translation October 19, 2009
Steven J. Weissburg (Cambridge, MA)
0 out of 2 found this review helpful
Note,
This is Longfellow's translation, as it says at the title of this item, NOT MUSA's, which is the translation reviewed. I have nothing against Longfellow's translation, but I alredy bought that in Kindle version, and I was interested to see how Kindle would deal with Musa's side by side translation. So, now I know. It doesn't. It isn't musa, this is a false, misleading, mistaken set of reviews.
 The best translation of Dante's Commedia September 3, 2009
Carlo Molinari Marotto (Buenos Aires)
This translation is faithful and modern at the same time. I know Italian and have read the italian poem, but I am also interested in translation, and have found that Musa's work is far superior to others. He explains his criteria in the translator's note: use of modern words, exclusion of rhyme and fidelity to the semantic content. Solutions like the verse: "And, everywhere I looked, the beast was there" (Inf. I, 34) which translates "e non mi si partia dinanzi al volto" fascinate me. This is a search for clarity and fidelity at the same time, dealing with a language that does not simplify things for a translator.
Very recommendable.
An oustanding translation. May 10, 2009
Everette E. Craig
After reviewing many different translations of this book I found this one by Musa to be an extreamly good translation. With regards to the first time reader this particular edition is absolutly the finest and really stands out for its clarity and the extreamly helpful notes section after each cantos. In some of the other translations I found the notes to be either way too sparse to help the reader. While yet the notes section in other editions are often very large and far to detailed so that only a scholar mind find it of any real use. I highly recomend this book as well as the other two books in the trilogy.
 My favorite translation June 26, 2008
David W. Lafferty (Exiled from Florence)
3 out of 3 found this review helpful
Choosing which translation of Dante's Divine Comedy to read is a very subjective and personal question. Any translation involves balancing the meaning, feel, and artistry of the work, normally at the expense of at least one of these qualities. A major consideration is the topic of rhyme. The Divine Comedy has a complex rhyme scheme that suits itself well to the rhyme-rich language of Italian (where, unlike English, many words end in vowels). Translations that attempt to maintain any type of rhyme scheme often sound forced and usually compromise the meaning of the text.
At the other end of the spectrum are straight prose (spoken word) translations. Prose translations are great for communicating the story and it's nuances, however any poetical structure is lost. A third choice is a translation written in blank verse (iambic pentameter). This format allows freedom to communicate the work without rhyme, yet maintains a metrical structure. In addition, it's well suited for English (Shakespeare wrote much of his work in blank verse).
So, which version should you read? I have no vested interested in selling a particular author's work, my recommendations are just my personal opinion. My favorite version is by Mark Musa (written in blank verse). I also enjoy Anthony Esolen's translation (blank verse with some rhyme). They also both have good notes (a necessity). Ultimately, it's great to read a few and decide which version you like best, each has strengths and weaknesses.
Not for me March 11, 2008
Stephanie Noverraz (Lausanne, Switzerland)
1 out of 7 found this review helpful
Inferno is the first part of Dante Alighieri's Divine Comedy (before Purgatorio and Paradiso).
In this book, we follow Dante as he visits Hell, walking down its nine consecutive Circles accompanied by the poet Virgil, and meeting old acquaintances on the way.
This should not become a habit, but I intend to stop after the first volume and not finish the trilogy. First, I realize I'm simply not sensitive to poetry. Then, there are too many references to public or mythical figures of the Antiquity and 13th-century Florence, and I'm not sufficiently educated in History and Biblical Lore to enjoy this book.
Still, Sisson's modern English translation is good and reads easily. The notes at the end of the book are well-done and help understand what Dante is referring to, but I was too lazy to constantly check back and forth. I'm wondering if it would have been a better choice if they'd been placed in the margin.
Showing reviews 1-5 of 30
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