Dante’s Paradise: A Celebration of the Celestial

danteI finished Dante’s Divine Comedy this week, and it ended as strong as it started. Paradise takes the social commentary of Inferno and the moralizing of Purgatory and then just cranks that gorgeous poetry amp up to 11. It is, by far, the most beautifully written entry in the trilogy and maybe even imbued with the deepest ideas.

Four favorite passages may serve to illustrate.

First, from canto four, we see a meditation on how spiritual truth must be understood metaphorically by our merely mortal minds. The top and bottom of this page are pithy quotes by themselves, but the body between constitutes some of the more clever comparisons I’ve ever seen:

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Next, from much later on, this part starts with lines that could apply to art and writing in general, but then wax eloquent about matters of faith, integrating mind and spirit, but ending with a paean to scripture and the Holy Spirit.

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Salvador Dali and More at UNLV’s Barrick Museum

The Marjorie Barrick Museum at UNLV is celebrating its 50th anniversary with three cool new exhibits. Since I walk past it all the time and it’s free, I figured I should check them out. The most interesting one to me is the collection of Salvador Dali illustrations of classic literature.

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I knew right away I’d like this room! Tangential anecdote: back in my 2nd or 3rd year teaching, I thought it would be funny to put a sign with this quote over my classroom door. My principal disagreed and made me take it down.

The illustrations are to each volume of Dante’s Divine Comedy, as well as Boccaccio’s Decameron. Each display gets turned to new pages twice weekly, so I suppose I’ll drop back in each time I’m on campus the rest of this semester. Go a minute out of my way to see more original Dali work up close? Yes, please.

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Anthony Esolen’s Translation of Dante’s Inferno

downloadI had never read the Inferno because, unlike other classics where there is broad agreement on which translations are the best, opinion here is divided. However, over the summer I read this amazing essay by Anthony Esolen (which I cannot recommend highly enough–it may be the best essay I’ve read all year); I was so impressed that I looked to see what else he had written, and lo and behold, he’d translated Dante.

This book was a beautiful joy from beginning to end. Dante’s story is even better than I’d imagined it would be. I was surprised to see it so full of, what was for Dante, contemporary social criticism. Quite a few of the movers and shakers of his world–men who had wronged him personally–were called out by name and given the retribution of having their eternal torments depicted in poetry. Even more surprising was the fact that popes were among that number (indeed, multiple passages basically say, “Hey, Pope Boniface VIII–you suck!”).

Dante’s criticism even veers into satire at points, with the punishments of hell fitting that “poetic justice” paradigm we expect. He seemingly relishes such opportunities to kick some of his targets when they’re down; for example, noting not only that one kind of sinner might spend eternity with their heads literally turned around backwards, but that the tears they always shed are running down between the cleft in their buttocks. Other sinners are seen wallowing in raw sewage forever. Stay classy, Dante!

This is not to make light of the text at all, though. In fact, the last several sections contain some of the most gruesome, horrific scenes I’ve ever come across in a book (and I read a whole lot of Stephen King as a kid!). The final scene, in the very center of hell, is fantastically graphic: Satan, frozen from the waist down in a lake of ice, has a second and third face on either side of his giant head, and each of the three mouths is eternally chewing on one of the great traitors of history: Brutus, Cassius, and Judas Iscariot. The image is incredibly vivid–below is just one of the more tasteful illustrations I found online.

Beside the text itself, Esolen has given us a great gift in this volume. The translation itself is crisp, clear, and moving, but the other features also make this a great book: the Italian text on each facing page, the extensive endnotes delving into Dante’s references in detail, and a series of appendices that provide excerpts from seminal texts that all informed Dante’s vision. I made frequent use of these, and look forward to a time when I can just sit around all day and absorb them all. For the avid reader of classics, Esolen has provided a truly fine treat.

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