Dante Alighieri

Peter Armour

This edition prints all three parts of Dante's great poem about the journey of the soul - INFERNO, PURGATORIO and PARADISO - in the recent English translation by Allen Mandelbaum, with an introduction and explanatory notes on each canto by the noted Dante scholar, Peter Armour. This is the only reasonably priced hardback edition of one of the world's greatest masterworks and should prove to be the most accessible for students and general readers alike. It includes Botticelli's glorious and relatively unknown illustrations of THE DIVINE COMEDY, drawn in the 1480s.

The Divine Comedy

The Divine Comedy, translated by Allen Mandelbaum, begins in a shadowed forest on Good Friday in the year 1300. It proceeds on a journey that, in its intense recreation of the depths and the heights of human experience, has become the key with which Western civilization has sought to unlock the mystery of its own identity. Mandelbaum's astonishingly Dantean translation, which captures so much of the life of the original, renders whole for us the masterpiece of that genius whom our greatest poets have recognized as a central model for all poets. This Everyman's edition-containing in one volume all three cantos, Inferno, Purgatorio, and Paradiso-includes an introduction by Nobel Prize--winning poet Eugenio Montale, a chronology, notes, and a bibliography. Also included are forty-two drawings selected from Botticelli's marvelous late-fifteenth-century series of illustrations. (Book Jacket Status: Jacketed)

Inferno; Purgatorio; Paradiso (in One Volume); Introduction by Eugenio Montale

A pickle tries to escape being eaten by fleeing through the city streets, pursued by a variety of other food items.

Stop That Pickle!

From classical and other sources medieval Europeans had inherited belief in the existence of griffins. In the Garden of Eden, on the summit of the mountain of Purgatory, Dante sees one of these creatures drawing a chariot, which it later joins to the tree of the Fall, making the tree bearleaves and flowers again. This griffin has long been thought to represent Christ, but an examination of medieval griffin-lore and of Dante's own poem shows that this explanation is untenable. This study explores both the intellectual and political concerns and the imaginative world of early fourteenth-century Italy: theology, philosophy, and jurisprudence; folklore and romance; prophecy and millenarianism. It provides a new interpretation of Dante's griffin as a powerful symbol centralto his presentation of the earthly Paradise, mankind's lost ideal of collective happiness on earth.

Peter Armour

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