by Dante
Shankland, Hugh, “Dante ‘Aliger,’ ” Modern Language Review 70 (1975): 764–85.
Shan.1977.1
Shankland, Hugh, “Dante ‘Aliger’ and Ulysses,” Italian Studies 32 (1977): 21–40.
Shap.1974.1
Shapiro, Marianne, “The Fictionalization of Bertran de Born (Inf. XXVIII),” Dante Studies 92 (1974): 107–16.
Shap.1975.1
Shapiro, Marianne, “Semiramis in Inferno V,” Romance Notes 16 (1975): 455–56.
Shoa.1975.1
Shoaf, R. A., “Dante’s colombi and the Figuralism of Hope in the Divine Comedy,” Dante Studies 93 (1975): 27–59.
Shoa.1983.1
Shoaf, R. A., Dante, Chaucer, and the Currency of the Word (Norman, Okla.: Pilgrim Books, 1983).
Silv.1931.1
Silverstein, H. Theodore, “The Weeping Statue and Dante’s Gran Veglio,” Harvard Studies and Notes in Philology and Literature 13 (1931): 165–84.
Silv.1937.1
Silverstein, Theodore, “Did Dante Know the Vision of St. Paul?” Harvard Studies and Notes in Philology and Literature 19 (1937): 231–47.
Silv.1997.1
Silverstein, Theodore, and Anthony Hilhorst, eds., Apocalypse of Paul: A New Critical Edition of Three Long Latin Versions (Geneva: Patrick Cramer, 1997).
Simo.1993.1
Simonelli, Maria Picchio, Lectura Dantis Americana: “Inferno” III (Philadelphia: University of Pennsylvania Press, 1993).
Sing.1965.1
Singleton, Charles S., “Inferno XIX: O Simon Mago!” Modern Language Notes 80 (1965): 92–99.
Sowe.1983.1
Sowell, Madison U., “A Bibliography of the Dantean Simile to 1981,” Dante Studies 101 (1983): 167–80.
Spag.1997.1
Spaggiari, Barbara, “Antecedenti e modelli tipologici nella letteratura in lingua d’oïl,” in I “monstra” nell’ “Inferno” dantesco: tradizione e simbologie (Spoleto: Centro italiano di studi sull’alto medioevo, 1997), pp. 107–40.
Sper.1948.1
Speroni, Charles, “Dante’s Prophetic Morning-Dreams,” Studies in Philology 45 (1948): 50–59.
Spit.1942.1
Spitzer, Leo, “Speech and Language in Inferno XIII,” Italica 19 (1942): 77–104.
Spit.1943.1
Spitzer, Leo, “Two Dante Notes: I. An Autobiographical Incident in Inferno XIX; II. Libicocco,” Romanic Review 34 (1943): 248–62.
Spit.1944.1
Spitzer, Leo, “The Farcical Elements in Inferno, Cantos XXI–XXIII,” Modern Language Notes 59 (1944): 83–88.
Spit.1955.1
Spitzer, Leo, “The Addresses to the Reader in the Commedia,” Italica 32 (1955): 143–66.
Stab.1983.1
Stabile, Giorgio, “Cosmologia e teologia nella Commedia: la caduta di Lucifero e il rovesciamento del mondo,” Letture classensi 12 (1983): 139–73.
Stef. 1993.1
Stefanini, Ruggero, “In nota a un commento,” Lectura Dantis [virginiana] 13 (1993): 78–89.
Step.1982.1
Stephany, Wm. A., “Pier della Vigna’s Self-fulfilling Prophecies: the ‘Eulogy’ of Frederick II and Inferno 13,” Traditio 38 (1982): 193–212.
Stie.1988.1
Stierle, Karlheinz, “Odysseus und Aeneas: Eine typologische Konfiguration in Dantes Divina Commedia,” in Das fremde Wort: Studien zur Interdependenz von Texten, Festschrift für Karl Maurer zum 60. Geburtstag, ed. Ilse Nolting-Hauff & Joachim Schulze (Amsterdam: B. R. Grüner, 1988), pp. 111–54.
Stul.1991.1
Stull, William, and Robert Hollander, “The Lucanian Source of Dante’s Ulysses,” Studi Danteschi 63 (1991 [1997]): 1–52.
Swin.1962.1
Swing, T. K., The Fragile Leaves of the Sibyl (Westminster, Md.: The Newman Press, 1962).
Taaf.1822.1
Taaffe, J., A Comment on the “Divine Comedy” of Dante Alighieri (London: John Murray, 1822).
Tavo.1992.1
Tavoni, Mirko, “Effrazione battesimale tra i simoniaci (Inf. XIX 13–21),” Rivista di letteratura italiana 10 (1992): 457–512.
Terd.1973.1
Terdiman, Richard, “Problematic Virtuosity: Dante’s Depiction of the Thieves (Inferno XXIV–XXV),” Dante Studies 91 (1973): 27–45.
Thom.1967.1
Thompson, David, “Dante’s Ulysses and the Allegorical Journey,” Dante Studies 85 (1967): 33–58.
Thom.1974.1
Thompson, David, Dante’s Epic Journeys (Baltimore: Johns Hopkins University Press, 1974).
Thor.1923.1
Thorndike, Lynn, A History of Magic and Experimental Science (New York: Macmillan, 1923).
Toya.1965.1
Toja, Gianluigi, “La Fortuna,” Studi Danteschi 42 (1965): 247–60.
Trio.1998.1
Triolo, Alfred A., “Malice and Mad Bestiality,” in Lectura Dantis: “Inferno”, ed. A. Mandelbaum, A. Oldcorn, C. Ross (Berkeley: University of California Press, 1998), pp. 150–64.
Vall.1935.1
Valli, Luigi, “Ulisse e la tragedia intellettuale di Dante,” in his La struttura morale dell’universo dantesco (Rome: Ausonia, 1935), pp. 26–40.
Vazz.1998.1
Vazzana, Steno, “Il ‘disdegnoso gusto’ di Pier de le Vigne,” L’Alighieri 11 (1998): 91–94.
Vill.1984.1
Villa, Claudia, La “lectura Terentii” (Padua: Antenore, 1984), esp. pp. 137–89.
Vill.1993.1
Villa, Claudia, “Dante lettore di Orazio,” in Dante e la “bella scola” della poesia: Autorità e sfida poetica, ed. A. A. Iannucci (Ravenna: Longo, 1993), pp. 87–106.
Vina.1960.1
Vinay, Gustavo, “Dante e Ulisse,” Nova Historia 12 (1960): 4–20.
VonR.1986.1
Von Richthofen, Erich, “La dimensión atlántica del Ulises y del Alejandro medievales en el contexto del mito herácleo gaditano,” in Philologica hispaniensia in honorem Manuel Alvar, Vol. III (Madrid: Gredos, 1986), pp. 423–34.
VonR.1986.2
Von Richthofen, Erich, “¿Deriva de Tácito el episodio atlántico de Ulises (Dante, Inferno, XXVI, 83 y ss.)?” in Studia in honorem prof. M. De Riquer, Vol. I (Barcelona: Crema, 1986), pp. 579–83.
Wilh.1960.1
Wilhelm, Julius, “Die Gestalt des Odysseus in Dantes Göttlicher Komödie,” Deutsches Dante-Jahrbuch 38 (1960): 75–93.
Wilk.1926.1
Wilkins, E. H., “The Prologue of the Divine Comedy,” Annual Report of the Dante Society 42 (1926): 1–7.
Click here to return to the text
Click here to return to the text
ROBERT HOLLANDER
AND JEAN HOLLANDER
INFERNO
* * *
ROBERT HOLLANDER taught The Divine Comedy to Princeton students for forty-two years. He is the author of a dozen books and some eighty articles on Dante and/or Boccaccio. A member of Princeton’s Department of French and Italian and the former chairman of its Department of Comparative Literature, he has received many awards, including the Gold Medal of the city of Florence in recognition of his Dante scholarship.
JEAN HOLLANDER, his wife, is a poet, teacher, and was director of the Writers’ Conference at the College of New Jersey. She has published three books of her poems.
ALSO BY ROBERT HOLLANDER
Allegory in Dante’s Commedia
Walking on Dante: poems
Boccaccio’s Two Venuses
Studies in Dante
Il Virgilio dantesco: Tragedia nella “Commedia”
André Malraux, The Temptation of the West (translator)
Giovanni Boccaccio, Amorosa Visione (translated with Timothy Hampton and Margherita Frankel)
Boccaccio’s Last Fiction: Il Corbaccio
Dante and Paul’s “five words with understanding”
Dante’s Epistle to Cangrande
Boccaccio’s Dante and the Shaping Force of Satire
Dante: A Life in Works
The Dartmouth Dante Project (founder and director)
&nb
sp; The Princeton Dante Project (founder and director)
ALSO BY JEAN HOLLANDER
Crushed into Honey: poems
Hugo von Hoffmansthal, The Woman Without a Shadow (translator)
I Am My Own Woman: The Outlaw
Life of Charlotte von Mahlsdorf (translator)
Moondog: poems
ACCLAIM FOR THE HOLLANDER TRANSLATION OF INFERNO
* * *
“A distinguished act of poetry and scholarship in one and the same breath, the Hollander Dante, among the strong translations of the poet, deserves to take its own honored place.”
—Robert Fagles, translator of The Iliad and The Odyssey
“The new Inferno, as this is likely to be called, is both majestic and magisterial and the product of a lifelong devotion to Dante’s poetry and to the staggering body of Dante scholarship. The Hollanders capture each and every accent in Dante, from the soft-spoken, effusive stilnovist poet, to the wrathful Florentine exile, to the disillusioned man who would become what many, including T. S. Eliot, consider the best poet who ever lived. The Hollanders’ adaptation is not only an intelligent reader’s Dante, but it is meant to enlighten and to move and ultimately to give us a Dante so versatile that he could at once soar to the hereafter and remain unflinchingly earthbound.”
—André Aciman, author of Out of Egypt: A Memoir
“The present volume makes the poem accessible to the lay reader and appealing to the specialist: the translation is both faithful to the original and highly readable; the introduction and notes are dense without being overly scholarly; the bibliography consists predominantly of studies in English, encouraging further investigation by English-language readers.… A highly worthy new Inferno that is the mature fruit of years of scholarly, pedagogical, and creative work.”
—Choice
“The Hollanders’ [translation] is probably the most finely accomplished and may well prove the most enduring.… The annotation is crowded with useful insights and bits of information and keeps us abreast of scholarly opinion across the ages.”
—RWB Lewis, Los Angeles Times
“The notes following each canto, besides being up-to-date in scholarly terms and full of the insight produced by decades of teaching, reflection, and scholarship, are of genuinely useful length and pertinence. The decisions they made about the translation seem completely successful.… This is the translation for our time and probably beyond.”
—National Review
“A brisk, vivid, readable—and scrupulously subtle—translation, coupled with excellent notes and commentary. Every lover of Dante in English should have this volume.”
—Alicia Ostriker
“English-speaking lovers of Dante are doubly in the Hollanders’ debt: first, for this splendidly lucid and eminently readable version of Dante’s Hell, and second, for the provocative, elegantly written commentary, which judiciously synthesizes a lifetime of deeply engaged, wide-ranging scholarship, as well as the past six centuries of commentary on the poem. No student of Dante would want to be without it.”
—John Ahern, Antolini Professor of Italian Literature, Vassar College
“This new Hollander translation deserves to sweep the field.… Robert and Jean Hollander, both practicing published poets, have produced an English text of remarkable poetic sensitivity while never traducing the original Italian or pretending to supplant Dante’s poem with one of their own. They have given us the Inferno in English, not a modern poetic medley on themes by Dante. And Robert Hollander has supplied precisely that kind of commentary the student or general reader needs—an economical and graceful edifice of explanatory notes resting firmly on a foundation, massive and deep, yet invisible and therefore not distracting to the reader’s eye, of the erudition of a lifetime’s study of the medieval Italian poets.”
—John Fleming, Professor of English and Comparative Literature, Princeton University