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قراءة كتاب The Divine Comedy of Dante Alighieri The Inferno
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The Divine Comedy of Dante Alighieri The Inferno
THE
DIVINE
COMEDY
OF
DANTE
ALIGHIERI
A TRANSLATION
BY
JAMES ROMANES SIBBALD
EDINBURGH
PUBLISHED BY DAVID DOUGLAS
MDCCCLXXXIV
All Rights Reserved.
Edinburgh University Press:
T. AND A. CONSTABLE, PRINTERS TO HER MAJESTY.
THE
INFERNO
A TRANSLATION
WITH NOTES AND AN INTRODUCTORY ESSAY BY
JAMES ROMANES SIBBALD
EDINBURGH
PUBLISHED BY DAVID DOUGLAS
MDCCCLXXXIV
PREFACE.
A Translator who has never felt his self-imposed task to be a light one may be excused from entering into explanations that would but too naturally take the form of apologies. I will only say that while I have striven to be as faithful as I could to the words as well as to the sense of my author, the following translation is not offered as being always closely literal. The kind of verse employed I believe to be that best fitted to give some idea, however faint, of the rigidly measured and yet easy strength of Dante’s terza rima; but whoever chooses to adopt it with its constantly recurring demand for rhymes necessarily becomes in some degree its servant. Such students as wish to follow the poet word by word will always find what they need in Dr. J. A. Carlyle’s excellent prose version of the Inferno, a work to which I have to acknowledge my own indebtedness at many points.
The matter of the notes, it is needless to say, has been in very great part found ready to my hand in existing Commentaries. My edition of John Villani is that of Florence, 1823.
The Note at page cx was printed before it had been resolved to provide the volume with a copy of Giotto’s portrait of Dante. I have to thank the Council of the Arundel Society for their kind permission to Messrs. Dawson to make use of their lithograph of Mr. Seymour Kirkup’s invaluable sketch in the production of the Frontispiece—a privilege that would have been taken more advantage of had it not been deemed advisable to work chiefly from the photograph of the same sketch, given in the third volume of the late Lord Vernon’s sumptuous and rare edition of the Inferno (Florence, 1865). In this Vernon photograph, as well as in the Arundel Society’s chromolithograph, the disfiguring mark on the face caused by the damage to the plaster of the fresco is faithfully reproduced. A less degree of fidelity has been observed in the Frontispiece; although the restoration has not been carried the length of replacing the lost eye.
Edinburgh, February, 1884.
CONTENTS.
| PAGE | |
| FLORENCE AND DANTE, | xvii |
| GIOTTO’S PORTRAIT OF DANTE, | cx |
| The Inferno. | |
| CANTO I. | |
| The Slumber—the Wood—the Hill—the three Beasts—Virgil—the Veltro or Greyhound, | 1 |
| CANTO II. | |
| Dante’s misgivings—Virgil’s account of how he was induced to come to his help—the three Heavenly Ladies—the beginning of the Journey, | 9 |
| CANTO III. | |
| The Gate of Inferno—the Vestibule of the Caitiffs—the Great Refusal—Acheron—Charon—the Earthquake—the Slumber of Dante, | 17 |
| CANTO IV. | |
| The First Circle, which is the Limbo of the Unbaptized and of the Virtuous Heathen—the Great Poets—the Noble Castle—the Sages and Worthies of the ancient world, | 24 |
| CANTO V. | |
| The Second Circle, which is that of Carnal Sinners—Minos—the Tempest—The Troop of those who died because of their Love—Francesca da Rimini—Dante’s Swoon, | 32 |
| CANTO VI. | |
| The Third Circle, which is that of the Gluttonous—the Hail and Rain and Snow—Cerberus—Ciacco and his Prophecy, | 40 |
| CANTO VII. | |
| The Fourth Circle, which is that of the Avaricious and the Thriftless—Plutus—the Great Weights rolled by the sinners in opposite directions—Fortune—the Fifth Circle, which is that of the Wrathful—Styx—the Lofty Tower, | 47 |
| CANTO VIII. | |
| The Fifth Circle continued—the Signals—Phlegyas—the Skiff—Philip Argenti—the City of Dis—the Fallen Angels—the Rebuff of Virgil, | 55 |
| CANTO IX. | |
| The City of Dis, which is the Sixth Circle and that of the Heretics—the Furies and the Medusa head—the Messenger of Heaven who opens the gates for Virgil and Dante—the entrance to the City—the red-hot Tombs, | public@vhost@g@gutenberg@html@files@41537@[email protected]#Page_62" |