Paradiso

Front Cover
Wilder Publications, 2011 - Poetry - 168 pages
17 Reviews
Paradiso is a first person narration of Dante's travels through Hell, but at a deeper level it represents allegorically the soul's journey towards God. At this deeper level, Dante draws on medieval Christian theology and philosophy. A powerful work of art that has stood the test of time. This is the brilliant Henry Wadsworth Longfellow translation that placed Dante in his proper place in the English speaking world. Wilder Publications is a green publisher. All of our books are printed to order. This reduces waste and helps us keep prices low while greatly reducing our impact on the environment.

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The Divine Comedy of Dante Alighieri. Vol. 3: Paradiso

User Review  - Thomas L. Cooksey - Book Verdict

Durling (English & Italian literature, emeritus, Univ. of California, Santa Cruz) completes his Divine Comedy of Dante Alighieri verse translation with this volume (after Inferno, 1996, and Purgatorio ... Read full review

Review: The Paradiso (The Divine Comedy #3)

User Review  - Nepule - Goodreads

Great read. An interesting view into past lives and how they view the world and afterlife. Definitely glad to use the end notes, they helped the poem make ten times more sense. Read full review

About the author (2011)

Born Dante Alighieri in the spring of 1265 in Florence, Italy, he was known familiarly as Dante. His family was noble, but not wealthy, and Dante received the education accorded to gentlemen, studying poetry, philosophy, and theology. His first major work was Il Vita Nuova, The New Life. This brief collection of 31 poems, held together by a narrative sequence, celebrates the virtue and honor of Beatrice, Dante's ideal of beauty and purity. Beatrice was modeled after Bice di Folco Portinari, a beautiful woman Dante had met when he was nine years old and had worshipped from afar in spite of his own arranged marriage to Gemma Donati. Il Vita Nuova has a secure place in literary history: its vernacular language and mix of poetry with prose were new; and it serves as an introduction to Dante's masterpiece, The Divine Comedy, in which Beatrice figures prominently. The Divine Comedy is Dante's vision of the afterlife, broken into a trilogy of the Inferno, Purgatory, and Paradise. Dante is given a guided tour of hell and purgatory by Virgil, the pagan Roman poet whom Dante greatly admired and imitated, and of heaven by Beatrice. The Inferno shows the souls who have been condemned to eternal torment, and included here are not only mythical and historical evil-doers, but Dante's enemies. The Purgatory reveals how souls who are not irreversibly sinful learn to be good through a spiritual purification. And The Paradise depicts further development of the just as they approach God. The Divine Comedy has been influential from Dante's day into modern times. The poem has endured not just because of its beauty and significance, but also because of its richness and piety as well as its occasionally humorous and vulgar treatment of the afterlife. In addition to his writing, Dante was active in politics. In 1302, after two years as a priore, or governor of Florence, he was exiled because of his support for the white guelfi, a moderate political party of which he was a member. After extensive travels, he stayed in Ravenna in 1319, completing The Divine Comedy there, until his death in 1321.

During his lifetime, Longfellow enjoyed a popularity that few poets have ever known. This has made a purely literary assessment of his achievement difficult, since his verse has had an effect on so many levels of American culture and society. Certainly, some of his most popular poems are, when considered merely as artistic compositions, found wanting in serious ways: the confused imagery and sentimentality of "A Psalm of Life" (1839), the excessive didacticism of "Excelsior" (1841), the sentimentality of "The Village Blacksmith" (1839). Yet, when judged in terms of popular culture, these works are probably no worse and, in some respects, much better than their counterparts in our time. Longfellow was very successful in responding to the need felt by Americans of his time for a literature of their own, a retelling in verse of the stories and legends of these United States, especially New England. His three most popular narrative poems are thoroughly rooted in American soil. "Evangeline: A Tale of Acadie" (1847), an American idyll; "The Song of Hiawatha" (1855), the first genuinely native epic in American poetry; and "The Courtship of Miles Standish" (1858), a Puritan romance of Longfellow's own ancestors, John Alden and Priscilla Mullens. "Paul Revere's Ride," the best known of the "Tales of a Wayside Inn"(1863), is also intensely national. Then, there is a handful of intensely personal, melancholy poems that deal in very successful ways with those themes not commonly thought of as Longfellow's: sorrow, death, frustration, the pathetic drift of humanity's existence. Chief among these are "My Lost Youth" (1855), "Mezzo Cammin" (1842), "The Ropewalk" (1854), "The Jewish Cemetery at Newport" (1852), and, most remarkable in its artistic success, "The Cross of Snow," a heartfelt sonnet so personal in its expression of the poet's grief for his dead wife that it remained unpublished until after Longfellow's death. A professor of modern literature at Harvard College, Longfellow did much to educate the general reading public in the literatures of Europe by means of his many anthologies and translations, the most important of which was his masterful rendition in English of Dante's Divine Comedy (1865-67).

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