Description
In the early 1300s, Dante Alighieri set out to write the three volumes which make the up The Divine Comedy. Purgatorio is the second volume in this set and opens with Dante the poet picturing Dante the pilgrim coming out of the pit of hell. Similar to the Inferno (34 cantos), this volume is divided into 33 cantos, written in tercets (groups of 3 lines). The English prose is arranged in tercets to facilitate easy correspondence to the verse form of the Italian on the facing page, enabling the reader to follow both languages line by line. In an effort to capture the peculiarities of Dante's original language, this translation strives toward the literal and sheds new light on the shape of the poem. Again the text of Purgatorio follows Petrocchi's La Commedia secondo l'antica vulgata, but the editor has departed from Petrocchi's readings in a number of cases, somewhat larger than in the previous Inferno, not without consideration of recent critical readings of the Comedy by scholars such as Lanza (1995, 1997) and Sanguineti (2001). As before, Petrocchi's punctuation has been lightened and American norms have been followed. However, without any pretensions to being "critical", the text presented here is electic and being not persuaded of the exclusive authority of any manuscript, the editor has felt free to adopt readings from various branches of the stemma. One major addition to this second volume is in the notes, where is found the Intercantica - a section for each canto that discusses its relation to the Inferno and which will make it easier for the reader to relate the different parts of the Comedy as a whole.
Table of Contents
CONTENTSAbbreviations, xvIntroduction, 2PARADISOCANTO 1Notes to Canto 1CANTO 2Notes to Canto 2CANTO 3Notes to Canto 3CANTO 4Notes to Canto 4CANTO 5Notes to Canto 5CANTO 6Notes to Canto 6CANTO 7Notes to Canto 7CANTO 8Notes to Canto 8CANTO 9Notes to Canto 9CANTO 10Notes to Canto 10CANTO 11Notes to Canto 11CANTO 12Notes to Canto 12CANTO 13Notes to Canto 13CANTO 14Notes to Canto 14CANTO 15Notes to Canto 15CANTO 16Notes to Canto 16CANTO 17Notes to Canto 17CANTO 18Notes to Canto 18CANTO 19Notes to Canto 19CANTO 20Notes to Canto 20CANTO 21Notes to Canto 21CANTO 22Notes to Canto 22CANTO 23Notes to Canto 23CANTO 24Notes to Canto 24CANTO 25Notes to Canto 25CANTO 26Notes to Canto 26CANTO 27Notes to Canto 27CANTO 28Notes to Canto 28CANTO 29Notes to Canto 29CANTO 30Notes to Canto 30CANTO 31Notes to Canto 31CANTO 32Notes to Canto 32CANTO 33Notes to Canto 33THE NICENE CREEDBOETHIUS' O QUI PERPETUA MUNDUM RATIONE GUBERNASNotes to "O qui perpetua'ADDITIONAL NOTES1. The Figure of Beatrice (After Canto 2)2. The Paradiso and the Monarchia3.The Primacy of the Intellect, the Sun, and the Circling Theologians (After Canto 14)4. Dante and the Liturgy (After Canto 15)5. The Religious Orders in the Paradiso6. The Threshold Cantos in the Comedy7. The Fate of Phaethon in the Comedy8. Circle-Cross-Eagle-Scales: Images in the Paradiso9. The Final Image10. The Neoplatonic Background11. Dante and Neoplatonism12. Dante's Astrology13. The Heavens and the Sciences: Convivio 214. The Paradiso as Alpha and OmegaTextual VariantsBibliographyIndex of Italian, Latin, and Other Foreign Words Discussed in the NotesIndex of Passages Cited in the NotesIndex of Proper Names in the NotesIndex of Proper Names in the Text and Translation
