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In The Purgatorio, Dante describes his journey to the renunciation of sin, accepting his suffering in preparation for his coming into the presence of God. This brilliant translation of Dante?s canticle crystallizes the great poet?s immortal conception of the aspiring soul.
This beautiful hardcover edition–containing 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. The Divine Comedy 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. Allen 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. Everyman's Library pursues the highest production standards, printing on acid-free cream-colored paper, with full-cloth cases with two-color foil stamping, decorative endpapers, silk ribbon markers, European-style half-round spines, and a full-color illustrated jacket. Everyman’s Library Classics include an introduction, a select bibliography, and a chronology of the author's life and times.
After enduring a vicious bear attack in the Russian Far East's Kamchatka Peninsula, a French anthropologist undergoes a physical and spiritual transformation that forces her to confront the tenuous distinction between animal and human. In the Eye of the Wild begins with an account of the French anthropologist Nastassja Martin’s near fatal run-in with a Kamchatka bear in the mountains of Siberia. Martin’s professional interest is animism; she addresses philosophical questions about the relation of humankind to nature, and in her work she seeks to partake as fully as she can in the lives of the indigenous peoples she studies. Her violent encounter with the bear, however, brings her face-to-face with something entirely beyond her ken—the untamed, the nonhuman, the animal, the wild. In the course of that encounter something in the balance of her world shifts. A change takes place that she must somehow reckon with. Left severely mutilated, dazed with pain, Martin undergoes multiple operations in a provincial Russian hospital, while also being grilled by the secret police. Back in France, she finds herself back on the operating table, a source of new trauma. She realizes that the only thing for her to do is to return to Kamchatka. She must discover what it means to have become, as the Even people call it, medka, a person who is half human, half bear. In the Eye of the Wild is a fascinating, mind-altering book about terror, pain, endurance, and self-transformation, comparable in its intensity of perception and originality of style to J. A. Baker’s classic The Peregrine. Here Nastassja Martin takes us to the farthest limits of human being.
Accepting Dante's prophetic truth claims on their own terms, Teodolinda Barolini proposes a "detheologized" reading as a global new approach to the Divine Comedy. Not aimed at excising theological concerns from Dante, this approach instead attempts to break out of the hermeneutic guidelines that Dante structured into his poem and that have resulted in theologized readings whose outcomes have been overdetermined by the poet. By detheologizing, the reader can emerge from this poet's hall of mirrors and discover the narrative techniques that enabled Dante to forge a true fiction. Foregrounding the formal exigencies that Dante masked as ideology, Barolini moves from the problems of beginning to those of closure, focusing always on the narrative journey. Her investigation--which treats such topics as the visionary and the poet, the One and the many, narrative and time--reveals some of the transgressive paths trodden by a master of mimesis, some of the ways in which Dante's poetic adventuring is indeed, according to his own lights, Ulyssean.
The individual insights employed in this reading of the Purgatorio are those of a twentieth-century mind, as are the author's references: T. S. Eliot, Henry James, I.A. Richards, Jacques Maritain, and many others. Purposely avoiding the pitfalls of Dantean scholarship, Mr. Fergusson reveals the drama of the order of Dante’s vision, the developed form of the poetry, and the meaning of the canticle for modern man. "The Purgatorio," he says, “has light to shed upon history and its making; upon psychology, ethics, and education; upon politics and the transmission of our tradition. There are many reasons for learning to read it; it is a central clue.” This brilliantly written book by the author of The Idea of a Theater is itself a central clue to the meaning of the Purgatorio. Originally published in 1953. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Reprint of the original, first published in 1883.