A Divina Comédia - Dante Alighieri (Portuguese Edition)
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Buy A Divina Comédia [Português Brasileiro][Ilustrado] (Portuguese Edition): Read Kindle Store Reviews A Divina Comédia é a obra prima de Dante Alighieri. A Divina Comédia (em italiano: Divina Commedia, originalmente Comedìa, mais tarde batizada de Divina por Giovanni Boccaccio) é um poema de viés épico e.
Please try again later. Kindle Edition Verified Purchase. It was also quite well translated to Portuguese. I frankly recommend this book but note that it is not an easy reading. One person found this helpful. This book is imposible to read.
A Divina Comédia [Ilustrado] [Com notas e índice ativo]
The language is from russia or ucraine not portuguese. I lost my money, thanks god was just 0, Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Learn more about Amazon Giveaway. Set up a giveaway.
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Feedback If you need help or have a question for Customer Service, contact us. Would you like to report poor quality or formatting in this book? How does that even make sense, especially because in purgatory people can rise higher I don't get it? I was rolling my eyes, it felt like politician doubl It's interesting to read this novel within these times. I was rolling my eyes, it felt like politician double-speak. A woman forced to marry someone because her family made her, can't rise up in heaven because after that man died And then the line that paraphrasing there is music here, but you aren't holy enough to hear it yet Having said all of this I can appreciate this for what it is, which is beautiful, fantastical and inspirational Esto sucede de manera constante a lo largo de los cantos, almas pecadoras, corruptas, creyentes o en estado de purga, tienen algo para decir.
El Purgatorio fue una bocanada de aire fresco y menos cruel. Los invito a hacer una prueba con su biblioteca personal: No es casualidad que Borges haya dicho lo siguiente: Incluso mientras escribo este breve comentario sigo pensando en los versos de Dante y en la influencia de sus palabras. I am reading a translation by C. All in all, I liked this work. I don't pretend or assume that I "got" it. There's a lot that went zinging over my head but I got enough to get the gist of it, and I'm happy with that.
There is beauty and thought in every Canto, from Inferno to Paradise. The amount of thought that Dante must have put into this idea and the amount of organizing it must have required to fix the hierarchies and levels must have been astounding and t I am reading a translation by C. The amount of thought that Dante must have put into this idea and the amount of organizing it must have required to fix the hierarchies and levels must have been astounding and time consuming.
From that, this work must have meant a lot to him for him to spend the time, energy and thought into making it happen. The work flows nicely. This translation is straightforward and the footnotes are good. Footnotes are important in this work for the background of the characters mentioned, which gives perspective and meaning to some of Dante's words.
I'm glad to get out of Hell at last. I really like how Dante mixed together his times with various myths and legends. I can't say I "get" it all as I don't know a lot of the people or the myths and legends that Dante mentions. BUT I get the idea that Hell is hell. Dante's descriptions of Hell and the tortures and the increasingly more intense circles is amazing.
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It's so well intertwined and one circle leads ever more downwards into more subtle and damaging sins. Some of these tortures are the product of a very intense mind and I'm not likely to forget them. Glad to leave Hell behind and enter Purgatory. Purgatorio Made it to Eden. It's a long climb up that mountain. I'm amazed that Dante is able to convey so much and on so many levels many of which went right over my head in very few words, considering.
Purgatory has more of a feeling of movement in it than Inferno did. After thinking about it, it has to do with Dante's involvement in what's happening around him. In Hell, Dante was an observer; as if he was far removed from the sins being shown In Purgatory, Dante himself is involved in the purging of sins; he recognizes that these sins are also of himself.
I'm on the fence about Beatrice at the moment and wasn't impressed with her first appearance in the book. Hope she's friendlier in Heaven. I'm continuing to enjoy C. Sisson's translation of this book. Paradiso Of the three sections, Paradise was my least favorite but I suppose it was the hardest for Dante to write. As an author, how does one write about Heaven, a place that no one has seen or can conceptualize?
How to bring the peace, harmony, love and worship to the forefront? It must have been a daunting task. As a reader, I found Paradise a bit static. No one moved, lights shone and glittered, Dante was forever in awe at some beauty that he saw in Paradise but couldn't remember as he wrote this work. I understand why this section needs to be so vague but, as a reader, I didn't find it that interesting because of the vagueness. I enjoyed this aspect of the work. In the middle of my life, I found myself in a snowy waste, F real temperature, not wind chill, driving my pregnant wife to St Joseph's Hospital for the birth of our first child Emily, now a lawyer in Milano.
Difficult to say, una cosa dura, but not really After all, I was in a snowy waste, not Dante's invented Inferno. In order to deliver my child, my wife had to go down fourteen snowy steps, get into a VW Bug with an electrical cord to its oilpan heater, and wait for me to put the car battery from inside the house in under the back seat, to start the motor for the drive down Summit Avenue to the hospital. Not a lifetime residence, like Mars. At the time in Minnesota, I was to be in hell because of a professor's not bothering to read my papers, nor those of the student whom he promoted to a prestigious job, though incapable of fine analytic writing.
This was not Dante's hell, but my own. Hell is a pretend professor, a famous one, who doesn't read student papers.
La Divina Commedia di Dante by Dante Alighieri - Free Ebook
It's not muck or fire or a treacherous stone path, as in Dante. Hell is power bowing to flattery as Kent in Lear points out, and as I experienced by the poor writer's having flattered the vain, pretend professor. Like Dante, I place my enemies in the Inferno. May they remain nameless, unworthy Dante's immortalizing of his.
He has not done all three parts, so he's not as well known. Inferno, the thirty-five year old Dante Blake Ritson finds himself in the middle of a dark wood, in extreme personal and spiritual crisis. But hope of rescue appears in the form of the venerable poet Virgil David Warner , now a shade himself, who offers to lead Dante on an odyssey through the afterlife, that begins in the terrifying depths of Hell.
On their journey, they encounter numerous souls who have embarked on the difficult journey up the mountain - a journey that will eventually lead to their spiritual salvation. Paradiso, Dante's spiritual journey comes to a glorious conclusion as he Blake Ritson is led by Beatrice Hattie Morahan through the spheres of Paradise and into the presence of God himself. As they ascend, they encounter a number of souls who have also achieved blessedness. Many years later, the older Dante John Hurt , still in enforced exile from his beloved Florence, reflects on the episodes from his life that have inspired his great poem.
View all 7 comments. Dante in English is heavy, while in Italian he is light, fast, almost a lyric poem. Palma's version is the lightest, fastest I've found. Often you hardly notice he's rhymed in tercets--his rhymes are so modern, unforced, and his syntax is so English. True, Dante still has a medieval mind--barratry? He only apologizes when he includes his own name in an epic, a breach of Dante in English is heavy, while in Italian he is light, fast, almost a lyric poem.
He only apologizes when he includes his own name in an epic, a breach of decorum which he justifies by placing his name in Beatrice's mouth. Then Dante puts personal enemies--he had more than a few--in specific levels of hell, which makes this epic almost a Romantic poem, centering on "I. I'm reviewing on the fact that this is an invaluable contribution to literature not based upon the quality of the audio version I found, which made me feel like I was attending lecture.
It was god awful and constantly interrupted with explanation.
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I just wanted to listen to Dante's incredible verses. Jul 26, Zachary F. Eliot claimed that "Dante and Shakespeare divide the world between them. There is no third. All that is fine and good, and I'm certainly in no position to dispute it. But the question remains, what do I make of the book itself, divorced from its reputation? How do I, reading TDC in translation in the 21st century, approach it in a way that is respectful but also honest? The short answer is no. In the nine months I spent with Dante, I almost never felt myself moved in the way I am when I read Shakespeare, or any number of other authors with smaller reputations but large places in my heart.
I enjoyed TDC, I engaged with it, I was rarely bored--but my response was also almost entirely intellectual, not emotional. With a few exceptions the final few cantos, when we finally see the Empyrean and God himself, were beautiful , my reaction to Dante differed little from my reaction to an interesting work of scholarly nonfiction. When my reading for the day was finished, my impulse was to research the symbolism I had missed, not to reflect on the majesty of what I had just read. But before you burn me at the literary stake am I mixing metaphors? What makes TDC so great, and how can I acknowledge its greatness while still admitting that it left me a bit cold?
That's very complex stuff. It's also pretty much impossible to imitate in English without compromising the meaning though a few translators, most notably Robert Pinsky, have tried. That maybe wasn't so much a problem in T. Eliot's day, when you were hardly considered literate if you didn't possess a working knowledge of three or four or five European languages--you could just read it in the original Italian.
Most translations are considered good if they nail even one of these. Of great Costanza this is the effulgence, Who from the second wind of Suabia Brought forth the third and latest puissance. I also hear good things about the Dorothy Sayers version, and the aforementioned Robert Pinsky.