The epic grandeur of Dante's masterpiece has inspired readers for 700 years, and has entered the human imagination. But the further we move from the late medieval world of Dante, the more a rich understanding and enjoyment of the poem depends on knowledgeable guidance. Robert Hollander, a renowned scholar and master teacher of Dante, and Jean Hollander, an accomplished poet, have written a beautifully accurate and clear verse translation of the first volume of Dante's epic poem, the Divine Comedy. Featuring the original Italian text opposite the translation, this edition also offers an extensive and accessible introduction and generous commentaries that draw on centuries of scholarship as well as Robert Hollander's own decades of teaching and research. The Hollander translation is the new standard in English of this essential work of world literature.

The New Life is the masterpiece of Dante's youth, an account of his love for Beatrice, the girl who was to become his lifelong muse, and of her tragic early death. An allegory of the soul's crisis and growth, combining prose and poetry, narrative and meditation, dreams and songs and prayers, this work of crystalline beauty and fascinating complexity has long taken its place as one of the supreme revelations in the literature of love.

The New Life is published here in the beautiful translation by the English poet Dante Gabriel Rossetti, an inspired poetic re-creation comparable to Edward Fitzgerald's Rubaiyat of Omar Khayyam and a classic in its own right.

Volume 4 of Indiana's six-volume edition of Dante's Divine Comedy consists of Mark Musa's extensive commentary on the Purgatory. Enlightening for the general reader as well as the student of Italian or comparative literature. Volume 3 is the companion volume, a dual-language edition of Dante's Purgatory.

"As poetry, Mr. Zappulla's English Dante is successful--. The power of Dante's descriptive poetry should be apparent, and that is perhaps the highest compliment one can pay a translator."--Washington Times

In this new rendition of a timeless classic, Italian scholar Elio Zappulla captures the majesty and enduring power of the Inferno, the first of the three canticles of Dante's The Divine Comedy, unarguably one of the masterpieces of world literature. Rendering Dante's terza rima into lyrical blank verse, Zappulla's translation makes accessible to the modern reader the journey of the famed Florentine poet Dante through the nine circles of hell. With Virgil at his side, the great poet descends through horrific landscapes of the damned--dark forests, boiling muck, and burning plains filled with unspeakable punishment, lamentation, and terror--depicted with gruesome detail unmatched in all literature. Richly annotated, this translation takes even the first-time reader on a truth-seeking journey whose imaginative and psychological discoveries make clear why this work persists at the heart of Western culture.

"If Dante's Inferno is a cautionary tale of the history of human depravity, it is also an amazingly complex narrative, treating timeless ethical themes, medieval philosophy and religion, tendentious political issues and deeply personal events."--San Diego Union-Tribune

La 'Vita nova' si caratterizza per un'apparente linearitą e limpidezza che si č soliti far coincidere con la narrazione dell'amore tutto ideale di Dante per Beatrice nella forma mista di prosa e di versi, di realtą e di finzione. Ma dietro questa superficie rassicurante si nasconde uno dei testi pił problematici della produzione dantesca: le immagini nitide e levigate delle donne gentili contengono infatti il consuntivo di un ormai concluso apprendistato poetico assai vario, l'affrancamento dai capiscuola della generazione precedente, italiani e provenzali, e la promozione di Dante a poeta che rinnova in modo del tutto originale la visione dell'amore, tema per eccellenza delle nuove letterature volgari europee.

'Dante Alighieri iera de Firenze e 'l parlava in fiorentin ma durante l'esilio el iera sta' un bon toco ospite dei Signori de Duin, e lą el gaveva 'vu ocasion de impararse el triestin; e lo gaveva imparą tanto ben, ma tanto ben ch'el se gaveva fina messo a scriver in poisia in triestin: che difati, come che tuti sa, in triestin, po, el ga scrito la Divina Comedia. Su 'stą Divina Comedia tanto se ga parlą e tanti xe stai nei secoli i comenti, ma solo adesso un - un sclebez qualunque - se ga insogną de farghene una traduzion in toscan, sostignindo che, se Dante gavessi scritto la Divina Comedia in toscan (visto che de sicuro el iera bon di scriver anche in toscan), la gaveria scrita proprio cussģ'.